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Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/catalogueofloane00laur_0 


THE  SAN  FRANCISCO  MUSEUM  OF  ART 


CATALOGUE 

OF  THE  LOAN  EXHIBITION  * 

OF 

PAINTINGS  BY  OLD  MASTERS 

IN  THE 

PALACE  OF  FINE  ARTS 
SAN  FRANCISCO 


BY 

J.  NILSEN  LAURVIK 
DIRECTOR 

N 

■ 6020 
S288 
»q  j o' 


SAN  FRANCISCO 
PUBLISHED  BY  THE  MUSEUM 


A.  D.  MCMXX 


<=©§  Published,  Odober  15,1920,  in  an 
edition  of 2000  copies.  (Copyright,  1920, 
by  The  San  Francisco  AMluseum  of  Art. 

‘Printed  by  Taylor  & Taylor,  San 
Francisco.  The  Printer  has  drawn  on 
two  early  Italian  Renaissance  books  in  the 
making  of  the  cot>er:  For  the  border  and 
general  arrangement,  the  “ Publii  Fran- 
cisci  Modesti  Ariminensis ’,  ’ printed  by 
Bernardinus  de  Vitalis  Venetus  in  1521 ; 
and  the  Phoenix  rising  from  the  flames, 
from  the  “ Marsilii  Ficini  Epistolaf 
printed  in  the  year  1495  by  Matthaus 
Capcasa  Parmensis. 

Halftones  made  by  the  Commercial  Art 
Company,  San  Francisco. 


VINH0JI1V0  'srfst#  SOI 
mv  jo  lAinasniN  aimcoo  $3  uom  spi 
mmn 


THE  J.  PAUL  GETTY  MUSEUM 

LIBRARY 


PREFACE 


The  Exhibition  last  spring  of  the  J.  Pierpont  Morgan  Loan  Col- 
lection of  Drawings  and  Etchings  by  Rembrandt  was  a fitting  cul- 
mination to  our  four  years  of  experimental  work  in  testing  the 
public  demand  for  a Museum  conducted  on  a serious  basis.  These 
four  years  brought  forth  such  an  overwhelming  response  in  general 
interest  and  attendance * * * § as  to  make  the  permanent  establishment 
of  such  a Museum  appear  nothing,  short  of  a necessity , which  we 
consider  it  our  duty  to  supply,  and  the  creation  of  a Museum 
organization,  with  a responsible  Board  of  Trustees t to  administer 
its  affairs,  is  the  initial  step  in  that  direction. 

This  Exhibition  of  Paintings  by  Old  Masters  is  the  first  act  of 
the  new  board,  and  may  be  taken  as  an  earnest  of  the  high  plane 
upon  which  it  is  proposed  to  conduct  the  San  Francisco  Museum 
of  Art,  which  now  comes  into  being,  inaugurating  a new  era  in  the 
cultural  life  of  San  Francisco  and  bringing  to  a happy  fruition 
the  seed  planted  some  fifty  years  ago,  when  the  San  Francisco  Art 
Association  was  founded  by  a small  band  of  idealists  who  had  the 
future  welfare  of  their  city  at  heart. 

That  their  faith  was  not  misplaced,  nor  their  efforts  in  vain,  is 
eloquently  attested  by  the  long  list  of  names  appended  hereto  of 
those  who,  by  their  generous  support  during  these  last  four  years, 
have  made  possible  the  successful  development  of  Museum  activi- 
tiesX  in  the  Palace  of  Fine  Arts.  To  them  is  due  our  grateful 
acknowledgment  of  a civic  service  performed  unostentatiously , for 
the  pure  love  of  San  Francisco,  and  to  them  primarily  the  Museum 
now  established  owes  its  existence.  And  here  we  wish  to  record 
our  deep  appreciation  of  the  co-operation  of  the  patrons  and  pa- 
tronesses whose  sponsorship  has  made  possible  this  Exhibition  of 
Old  Masters § by  guaranteeing  the  very  considerable  expense  in- 

* Since  May,  igi6,  over  one  million  -persons  have  visited  the  Museum  in  the 
Palace  0}  Fine  Arts,  with  a total  of  26,000  paid  admissions  registered  for  the  Zu- 
loaga,  Anisfeld,  and  Rembrandt  exhibitions. 

t See  Museum  Board  of  Trustees,  on  p.  viii. 

J Over  forty  exhibitions,  more  than  fifty  Sunday  afternoon  recitals  in  the  Co- 
Relation  of  the  Arts  Series,  and  scores  of  lectures  and  gallery  talks  have  been  given 
during  these  four  years,  not  to  mention  two  Promenade  Concerts  with  a full  orches- 
tra and  eminent  soloists,  and  two  out-of-door  choral  concerts  on  the  Lagoon. 

§ See  page  2. 


VI 


PREFACE 


volved  in  bringing  the  collection  to  the  coast;  while  to  Mr.  Robert 
Rea,  the  Librarian  of  our  Public  Library,  and  to  Miss  Byrne,  of 
the  Reference  Department,  our  thanks  are  due  for  materially  aiding 
in  the  making  of  this  catalogue  by  supplying  us  with  the  list  of 
titles  of  all  books  in  the  library  referring  to  the  artists  and  periods 
of  art  mentioned  herein;  and  last , but  not  least,  we  wish  to  express 
our  grateful  appreciation  of  the  unremitting  thought  and  attention 
devoted  by  printer  and  engraver  to  perfecting  their  part  of  this  pub- 
lication, and,  above  all,  to  thank  Messrs.  Bourgeois,  DeMotte, 
Durand-Ruel,  Ehrich,  Gimpel  and  Wildenstein,  Kleinberger,  and 
Knoedler for  their  kindness  in  lending  us  these  priceless  examples 
of  the  works  of  the  Old  Masters  that  constitute  this  notable  exhi- 
bition. 

The  collection  is  a chronological  exposition  of  the  main  currents 
influential  in  the  development  of  painting  in  Europe,  from  the  four- 
teenth century  down  to  and  including  the  eighteenth-century  English 
and  French  schools,  as  exhibited  in  the  work  of  the  foremost  painters 
of  each  period,  in  examples  that,  for  the  most  part,  are  brilliantly 
typical  and  always  characteristic  of  their  particular  style.  Though, 
to  be  sure,  the  exhibition  boasts  neither  a Leonardo,  a Michelangelo, 
nor  a Raphael,  it  does  contain,  in  the  works  of  Gianpedrino,  Dosso 
Dossi,  and  Penni,  eloquent  and  indeed  significant  reverberations 
of  these  giants  of  the  Italian  Renaissance,  while  their  great  con- 
temporaries and  their  forerunners  in  Flanders  and  in  Germany 
are  found  reflected  in  the  art  of  men  whose  work  continues  to  be 
ascribed  wrongly  to  Diirer,  Holbein,  Metsys,  and  Van  der  Weyden, 
so  closely  did  they  approach  these  famous  masters  in  matter  and 
manner. 

In  the  case  of  Penni,  as  exhibited  in  his  “ Portrait  of  a Lady,” 
we  have  something  more  than  a mere  echo  of  the  voice  of  the  master; 
it  is  the  very  embodiment  of  his  style  and  spirit,  expressed  by  one 
who  was  not  merely  a slavish  follower  and  an  intimate  friend  of 
Raphael,  but  actually  the  author  of  most  of  the  portraits  executed 
in  the  latter's  studio  during  his  last  years,  thus  becoming  in  a 
very  real  sense  his  alter  ego,  through  whom  Raphael  attained  a 
peculiarly  personal  and  authentic  extension  of  his  personality . It 
will  be  seen  therefore  that  this  beautiful  example  of  Raphael s 
favorite  pupil  is  charged  with  a significance  that  rarely  attaches 


PREFACE 


Vll 


to  the  works  of  pupils  and  assistants  and  becomes  a fruitful  field 
of  study  as  a manifestation  of  the  reflected  personality  of  the  master 
no  less  than  of  the  pupil. 

Similarly  this  is  true  also  of  the  work  of  Amberger,  whose  well- 
known  “ Portrait  of  Charles  V,"  in  the  Institute  of  Fine  Arts  at 
Siena , continues  to  be  attributed  to  Holbein , so  intimately  did 
Amberger  share  the  force  and  flavor  of  his  illustrious  compatriot , 
as  may  be  seen  in  his  “ Portrait  of  Conrad  Zeller  ” shown  here. 

For  other  examples  of  the  kind  in  this  exhibition  we  refer  the 
reader  to  the  notes  appended  to  the  exhibits  catalogued  herein,  from 
which  it  will  also  be  apparent  that  most  of  the  paintirigs  are  his- 
torically famous  canvases , coming  from  well-known  European 
collections , and  listed  and  described  in  numerous  published  works 
in  which  their  pedigrees  are  in  many  instances  traced  back  directly 
to  the  artists  who  painted  them.  Virtually,  every  subject  that  en- 
gaged the  interest  of  the  Old  Masters,  from  allegorical,  classical, 
mythological,  and  religious  to  landscapes,  portraits,  and  still  life, 
is  represented  here. 

As  this  is  an  exhibition  of  Old  Masters,  it  will  of  course  be  under- 
stood that  the  Introduction  ( which  follows)  deals  only  with  the  art  of 
the  periods  represented  and  makes  no  pretense  to  being  a complete 
survey  of  the  art  history  of  their  respective  countries.  Those  familiar 
with  the  researches  of  Morelli,  Bernhard  Berenson,  Jens  Thiis, 
Osvald  Siren,  Wilhelm  Bode,  Friedlander,  W.  R.  Valentiner, 
Bredius,  C.  Hofstede  de  Groot,  Max  Rooses,  A.  de  Beruete  y Moret, 
and  A.  J.  Wauters  will  recognize  how  much  this  catalogue  owes 
to  their  work,  and  I take  pleasure  in  making  acknowledgment  of  a 
debt  that  is  shared  by  all  the  world. 

J.  Nilsen  Laurvik,  Director. 


San  Francisco,  October  15,  1920. 


THE  SAN  FRANCISCO  MUSEUM  OF  ART 


BOARD  OF  TRUSTEES 


WILLIAM  C.  VAN  ANTWERP 

EDWIN  RAYMOND  ARMSBY 

ARTHUR  BROWN,  JR. 

FRANCIS  CAROLAN 

CHARLES  W.  CLARK 

CHARLES  TEMPLETON  CROCKER 

WILLIAM  H.  CROCKER 

JOHN  S.  DRUM 

SIDNEY  M.  EHRMAN 

JOSEPH  D.  GRANT 

DANIEL  C.  JACKLING 

WALTER  S.  MARTIN 

JAMES  D.  PHELAN 

GEORGE  A.  POPE 

LAURENCE  I.  SCOTT 

RICHARD  M.  TOBIN 

JOHN  I.  WALTER 

GEORGE  WHITTELL 

DIRECTOR 

J.  NILSEN  LAURVIK 


THE  MUSEUM  IS  HOUSED  IN  THE  PALACE  OF  FINE 
ARTS,  ERECTED  BY  THE  P A N A M A - P A C I FI  C INTERNA- 
TIONAL EXPOSITION  IN  I915 


CONTENTS 


For  a list  of  the  paititings  catalogued 
and  illustrated  herein , see  the  subjell  and  title  index 
at  the  end  of  the  volume 

% 


PREFACE 

SUBSCRIBERS 

introduction: 

Byzantine  Painting 
Italian  Painting 
Flemish  Painting 
Dutch  Painting 
German  Painting 
Spanish  Painting 
French  Painting 
British  Painting 

catalogue: 
Greco-Byzantine  Painting 
Italian  Painting 
Flemish  Painting 
Dutch  Painting 
German  Painting 
Spanish  Painting 
French  Painting 
British  Painting 

EXPLANATORY  NOTE 
BIBLIOGRAPHY 
INDEX  TO  ARTISTS 


Page  V 

xi 

xvii 

xx 

xxiii 

xxvii 

xxix 

xxxiii 

xl 

xliv 


3 

3 

1S 

22 

26 

3 1 
36 

45 

53 

57 

63 

66 


SUBJECT  & TITLE  INDEX 


THE  SAN  FRANCISCO  ART  ASSOCIATION 

OFFICERS 

ARTHUR  BROWN,  JR. 

CHARLES  TEMPLETON  CROCKER 
GOTTARDO  PIAZZONI 
MRS.  JOSEPH  FIFE 
WALTER  S.  MARTIN 

DIRECTORS 

CLARK  HOBART 
WILLIAM  H.  METSON 
GENEVE  RIXFORD  SARGEANT 

DIRECTOR 

J.  NILSEN  LAURVIK 

THE  ASSOCIATION  WAS  ORGANIZED  IN  187Z  ©“CON- 
DUCTS THE  SAN  FRANCISCO  MUSEUM  OF  ART  © THE 


BERNARD  R.  MAYBECK 
WILLIS  POLK 
JOHN  I.  WALTER 


President 
First  Vice-President 
Second  Vice-President 
Secretary 
Treasurer 


CALIFORNIA  SCHOOL  OF  FINE  ARTS 


SUBSCRIBERS 

WHO  HAVE  MADE  POSSIBLE  THE 
MUSEUM  ACTIVITIES  IN  THE  PALACE  OF 
FINE  ARTS  DURING  THE 
LAST  FOUR  YEARS 

§ 


CLUBS,  SCHOOLS,  NEWSPAPERS,  ETC. 

Adelphian  Club , Arts  and  Crafts  of  Carmel , Art  History  Club  ( San 
Jose),  Art  History  Club  (University  of  California). 

Bryant  School  Mothers'  Club. 

California  Camera  Club , California  Club , The  Century  Club  of 
California , Channing  Auxiliary , Clionian  Club , Collegiate 
Alumnce , Corona  Club , Council  of  Jewish  IV omen. 

Daughters  of  the  American  Revolution , Delphian  Society , Dolores 
Mothers'  Club. 

Ebell  Club  of  Oakland. 

Federation  of  Women  s Clubs , Forum  Club,  Friends  of  Art. 

Golden  Book  of  Records. 

Hypatia  Club. 

Laurel  Hall,  Los  Gatos  Civic  Center. 

Monterey  Club  Convention. 

New  Era  League,  N.  D.  G.  W.  Grand  Parlor. 

Oroville  Monday  Club,  Outdoor  Art  Club  ( Mill  Valley ),  Outdoor 
Art  League,  Outdoor  Club  ( San  Jose). 

Papyrus  Club,  Philomath  Club,  Preservation  League,  Presidents' 
Assembly. 

San  Francisco  Center  of  California  Civic  League,  San  Jose  Wo- 
men's Club,  Sons  of  the  American  Revolution,  Sorosis  Club,  Spring 
Valley  Mothers'  Club. 


SUBSCRIBERS 


xii 

Tamalpais  Center  Women  s Club , To  Kalon  Club , Twentieth  Cen- 
tury Club. 

Utile  Dulci. 

Vittoria  Colonna  Club. 

Woman  s Auxiliary  of  the  Palace  of  Fine  Arts , Women  s Club 
{Monterey),  Women' s Club  {Pasadena),  Women  s Club  {Riverside). 
San  Francisco  Call-Post,  San  Francisco  Examiner. 

Berkeley  High  School,  Berkeley  Schools,  Burbank  School,  Miss 
Burke's  School,  Le  Conte  School,  McKinley  School,  John  Muir 
School. 

INDIVIDUALS,  FIRMS  AND  CORPORATIONS 
Rachel  Abel,  The  Adair  family,  L.  & M.  Alexander , Maude  Rex 
Allen,  Mrs.  J.  W.  Allyne,  J.  S.  Angus,  Maxwell  Armfield,  George 
Armsby,  Lillian  Armsby,  E.  Raymond  Armsby,  Ludwig  Arnstein, 
Mr.  and  Mrs.  Robert  Atkins,  Almira  L.  Austin. 

Mrs.  C.  A.  Bachelder,  C.  E.  Baen,  Mrs.  J.  Baer,  Josephine  Bail- 
hache,  Mrs.  A.  S.  Baldwin,  Captain  John  Barneson,  Sigmund  Bauer, 
J.  C.  Beedy,  A.  Benson,  R.  I.  Bentley,  Mrs.  A.  G.  Bernard,  E.  T. 
Bioletti,  Nathaniel  Blaisdell,  Mary  C.  W.  Black,  Gordon  Blanding, 
Jonas  Bloom,  Leon  Bocqueraz,  Emma  Bronk  Bogges,  Winifred 
Black  Bonfls  {Annie  Laurie),  Emma  J.  Boole,  W.  S.  Borda, 
Mrs.  Joseph  Borda,  E.  L.  Bosqui,  Miss  E.  Boynton , F.  W.  Brad- 
ley, Edward  Brandenstein,  Manfred  Brandenstein,  M.  J.  Branden- 
stein,  John  A.  Britton,  Mrs.  S.  A.  Brooks,  Mrs.  H.  E.  Brown, 
Mrs.  A.  N.  Buchanan,  Lynda  Buchanan,  Nellie  A.  Buchanan, 
Frank  H.  Buck,  D.  J.  Buckley,  Katherine  T.  Buckley , Mrs.  James 
H.  Bull,  Byrne  & McDonnell. 

Donald  Y.  Campbell,  Mrs.  D.  Y.  Campbell,  A.  Canton,  Cardinell- 
Vincent  Co.,  E.  A.  Christenson,  City  of  Paris  Dry  Goods  Co.,  Mrs. 
C.  W.  Clark , Mrs.  H.  E.  Clark , V.  Clark,  Warren  D.  Clark,  Mrs. 
Crawford  W.  Clarke,  Ada  Clement , Mrs.  George  A.  Clough,  G. 
Wayne  Coffee,  Mary  C.  Cofran,  Ellen  R.  Coldwell,  Misses  P.  H. 
and  J.  D.  Coleman,  Mrs.  W.  B.  Cope,  Mrs.  Ernest  Cowell,  Helen 
E.  Cowell,  Isabella  M.  Cowell,  Douglas  Crane , Mrs.  J.  C.  Craw- 


SUBSCRIBERS 


Xlll 


ford,  Charles  Templeton  Crocker,  Mrs.  Charles  Templeton  Crocker , 
Ethel  IV.  Crocker,  Mrs.  William  H.  Crocker,  William  H.  Crocker, 
E.  Curjel. 

Eleanor  M.  Davenport,  Charles  H.  Delany,  Eleanor  A 1.  Delany, 
C.  Neufeld  DeNevers,  Mrs.  Edgar  De  Pue,  Eda  Del  Valle,  Anna 
M.  Deuser,  Marion  Dewey,  L.  Dinkelspiel  & Co.,  Samuel  Dinkel- 
spiel,  Mrs.  Samuel  Dinkelspiel,  A.  B.  C.  Dohrmann,  Mrs.  C.  L. 
Donohoe,  John  S.  Drum,  Mrs.  Peter  Dunne,  Airs.  C.  W.  Durbrow. 

Gertrude  S.  Eells,  Mrs.  Albert  Ehrman,  Airs.  Alfred  Ehrman, 
Mrs.  Sidney  Ehrman,  A.  Eloesser,  Carrie  Pratt  Elwell,  F.  D. 
Elwell,  Alice  C.  Everts. 

A.  Falvy,  Mrs.  Joseph  Fife,  Mrs.  G.  K.  Fitch,  Virginia  Fitch, 
Delia  Fleishhacker,  Herbert  Fleishhacker,  Mortimer  Fleishhacker, 
J.  L.  Flood,  Mrs.  James  Flournoy,  M.  J.  Fontana,  W.  H.  Ford, 
Alice  L.  Foye,  Joseph  Frame,  Grace  H.  de  Fremery,  Dr.  F.  Frank, 
Nathan  H.  Frank,  Mrs.  W.  S.  Franklin,  Dr.  W.  S.  Franklin,  Mrs. 
Frank  Fredericks,  Mrs.  William  Fries,  Helen  Frisselli,  E.  H. 
Furman. 

Mrs.  R.  F.  Gall,  John  O.  Gantner,  Gantner  i£  Mattern  Co.,  Hannah 
Gerstle,  William  L.  Gerstle,  James  H.  Gilhuly,  Mrs.  F.  W.  Goeg- 
gel,  H.  R.  Gogliando , Mrs.  Edwin  Goodall,  Alice  M.  Goss,  J.  D. 
Grant,  Mrs.  Walker  C.  Graves,  Mrs.  J.  W.  Gray,  Mrs.  I.  M. 
Green,  Emil  Greenebaum,  Louis  C.  Greene,  Mrs.  A.  F.  Griffith, 
Alice  L.  Griffith,  Henry  Gross,  Mrs.  C.  E.  Grunsky,  Julia  A. 
Guerne,  Mrs.  Leon  Guggenhime , B.  M.  Gunn. 

Mrs.  A.  Haas,  Mrs.  William  Haas,  E.  M.  Hadley,  Mrs.  0.  A. 
Hale,  Miss  Hale,  Reuben  H.  Hale,  Mrs.  A.  S.  Hallidie,  Mrs. 
Charles  Ham,  Mathilde  Hampe,  A.  B.  Hammond,  Mrs.  W.  A. 
Hammond,  Mr.  and  Airs.  J.  R.  Hanijy,  Mrs.  E.  H.  Harriman, 
Mr.  and  Mrs.  Julien  Hart,  Airs.  C.  A.  Hasslinger,  Irvin  Hatch, 
Mrs.  C.  A.  Hawkins,  William  Randolph  Hearst,  * Phoebe  A. 
Hearst,  Helen  Hecht,  Airs.  E.  S.  Heller,  */.  W.  Heilman,  Jr., 
Fredrika  B.  Henderson,  *Mrs.  H.  Herrington,  Pauline  Higbee, 
Mrs.  Marvin  Higgins,  Mrs.  A.  Z.  High , Saretta  B.  Hindes,  Mrs. 
*Deceased. 


XIV 


SUBSCRIBERS 


Joseph  Hodgen , Mrs.  H.  C.  Holmes,  E.  W.  Hopkins,  E.  T. 
Houghton,  J.  W.  Huddart,  Ernest  C.  Hueter,  E.  L.  Hueter,  0. 
M.  Hueter,  Marion  Huntington,  Mrs.  Isaac  Hyde. 

Alice  G.  Jewell,  Fidelia  Jewett,  Mrs.  Charles  C.  Judson,  Mrs. 
E.  A.  Judson. 

William  Kaujman,  Mrs.  Joseph  0.  Keenan,  Eliza  D.  Keith,  F. 
W.  Kellogg,  A.  F.  Kilkenny,  Frank  King,  Mrs.  Homer  King,  L. 
M.  King,  Mrs.  M.  Kirkpatrick,  Mrs.  Knight,  Mrs.  Marcus 
Koshland,  F.  J.  Koster,  Mrs.  Henry  Koster,  Alma  Kower,  Krause 
& Co. 

Mrs.  J.  Nilsen  Laurvik,  J.  Nilsen  Laurvik,  Dr.  Hartland  Law, 
Herbert  E.  Law,  John  Lawson,  Mrs.  W.  S.  Leake,  Mrs.  A.  L.  Leng- 
feld,  R.  J.  Levison,  Mary  H.  Lewis,  Rose  F.  Lewis,  *Jesse  Lilien- 
thal,  Mrs.  Samuel  Lilienthal,  Sophie  Lilienthal,  Bjarne  Lindvig, 
Mrs.  N.  B.  Livermore , Florence  Locke,  Julia  L.  Loveday,  Mrs.  I. 
Lowenberg,  Agnes  Lowrie. 

Carlotta  Mabury,  Mrs.  J.  N.  McChesney , Mrs.  F.  C.  McCreary, 
Mrs.  E.  J.  McCutchen,  Miss  McElroy,  McEwen  Bros.,  J.  D. 
McKee,  Airs.  J.  W.  McLaughlin,  J.  H.  McMenomy. 

0.  H.  Mackroth,  A.  K.  Macomber,  Louise  Maillaird,  Thomas 
Magee  & Sons,  “ Marie  G." , Mrs.  Eleanor  Martin,  Dr.  L.  J. 
Martin,  Walter  S.  Martin,  Carrie  R.  Matthews,  Frederica  Meyer- 
stein,  William  E.  Miles,  Mrs.  W.  H.  Mills,  Charles  G.  Minijie, 
Mrs.  J.  W.  Mitchell,  Louis  F.  Monteagle,  Mrs.  Douglas  Mont- 
gomery, Charles  C.  Moore,  J.  Pierpont  Morgan,  Mrs.  A.  F.  Morri- 
son, Mr.  and  Mrs.  L.  L.  Morse,  Mrs.  Leon  Wilson  Morse,  Gabriel 
Moulin,  L.  C.  Mullgardt,  Mrs.  Hamilton  Murray,  Mrs.  Clarence 
Musto,  Florence  Musto,  Mrs.  Joseph  Musto,  Laura  Musto. 

Gustav  Neujeld,  L.  J.  Neustadt,  Mrs.  E.  W.  Newhall,  Jr.,  Mrs. 
Charles  Newhouse,  Miss  A.  0.  Nilsen , Paul  Nippert,  Mrs.  J. 
R.  K.  Nuttall. 

Dr.  R.  H.  Oliver,  Mary  L.  Oliver,  William  Letts  Oliver,  Captain 
Fritz  Olsen,  Max  Ordenstein,  Horace  Orear,  Mrs.  C.  P.  Osgood, 
Mrs.  James  Otis. 


‘Deceased. 


SUBSCRIBERS 


XV 


Panama-Pacific  International  Exposition  Co.,  Dr.  Charles  Hadden 
Parker,  Jennie  K.  Partridge,  J.  M.  Patrick,  Blanca  D.  Paulsen, 
Gertrude  Pauson,  Mrs.  Richard  E.  Pearce,  Mrs.  S.  E.  Peart,  J.  S. 
Peltret,  Clara  H.  Perkins,  Hon.  James  D.  Phelan,  Mrs.  Ira  Pierce, 
Roy  H.  Pike,  Mrs.  Kaspar  Pischel,  Mrs.  IV.  P.  Plummer,  George 
A.  Pope,  Mrs.  George  A.  Pope,  Mrs.  M.  C.  Porter,  IV.  S.  Porter, 
John  Haraden  Pratt. 

R.  E.  Epueen.  , 

Mrs.  IV.  P.  Redington,  IV.  IV.  Rednall,  D.  R.  Rees,  Dr.  Aurelia 
Henry  Reinhardt,  B.  M.  Resing,  Grace  M.  Rhodin,  Mr.  Austin 
Richards,  Mrs.  Austin  Richards,  Mr.  and  Mrs.  A.  C.  Richardson, 
Mrs.  James  H.  Robertson,  V.  H.  Robinson,  Mrs.  E.  D.  Roe, 
Hon.  James  Rolph,  Jr.,  Rosenberg  Bros.,  Dr.  Julius  Rosenstirn, 
Albert  Rosenthal,  Mr.  and  Mrs.  J.  H.  Rosseter,  John  Rothschild, 
Mrs.  S.  IV.  Rowenstock,  Mrs.  A.  C.  Rulofson,  Jr. 

Mrs.  Henry  Sahlein,  Mrs.  R.  Samson,  Mrs.  F.  M.  Sawyer,  James 
H.  Schwabacher,  Mrs.  Louis  Schwabacher,  Airs.  L.  B.  Schwerin, 
Mrs.  A.  IV.  Scott,  Mrs.  Henry  T.  Scott,  C.  E.  Sebastien,  S.  S. 
Seward,  Jr.,  George  Shaner,  Margaret  Bowen  Shepard,  IV . R. 
Sherwood,  William  R.  Sherwood,  Mrs.  R.  J.  Shields,  Shreve  & 
Co.,  Mrs.  Charles  A.  Shurtleff,  E.  J.  Shuster,  Sing  Fat,  Mrs. 
Bernard  Sinsheimer,  Henry  Sinsheimer,  Mrs.  Edgar  Sinton, 
James  B.  Smith,  Mrs.  George  B.  Somers,  Mrs.  J.  J.  Spieker, 
Mrs.  A.  B.  Spreckels,  Mrs.  Edwin  Stadtmuller , Adolfo  Stahl, 
Edith  L.  Stebbins,  Josephine  E.  Steinberger,  Mrs.  Abraham  Stern, 
Jacob  Stern,  Sigmund  Stern,  Alfred  Stieglitz,  Stanley  Stillman, 
*0.  C.  Stine,  Mrs.  F.  L.  Stolz,  Mrs.  Julius  Sultan,  W.  B.  Sumner 
& Co.,  Judge  Matt  I.  Sullivan,  Emilie  Sussman,  Mrs.  Edward 
Sweeney. 

Edward  DeWitt  Taylor,  Henry  H.  Taylor,  Jos.  S.  Thompson, 
Ingeborg  Thorup,  E.  J.  Tobin,  *J.  S.  Tobin,  R.  M.  Tobin,  Mme.  E. 
Tojetti,  M.  E.  Toner,  Hon.  H.  A.  van  Coenen  Torchiana , Dr.  J.  B. 
Tufts,  Mrs.  Joseph  J.  Tynan. 

Baroness  J.  C.  van  Eck,  Baron  J.  C.  van  Eck,  Mrs.  Sidney  M. 
van  Wyck,  Mrs.  George  V olkmann,  Grover  von  Rossum. 

*Deceased. 


XVI 


SUBSCRIBERS 


E.  A.  Walcott , Mrs.  E.  A.  Walcott,  Mrs.  Cyrus  Walker,  Mrs. 
Talbot  Walker,  Miss  M.  K.  Wallis,  Clarence  R.  Walter,  John  I. 
Walter,  Rolla  V.  Watt , Mr.  and  Mrs.  H.  Weinstock,  Charles 
Stetson  Wheeler,  Mrs.  Charles  Stetson  Wheeler,  Anne  Whitley, 
Irvin  J.  Wiel,  Clara  K.  Willenmeyer,  D.  Willis,  Mrs.  M.  A. 
Wills,  Mrs.  Ramon  Wilson,  Ney  Wolf  skill,  Mrs.  F.  N.  W oods,  Jr., 
Mrs.  Julius  Wormser,  Harold  L.  Wright,  Mrs.  J.  B.  Wright, 
Emma  G.  Wright. 

W.  R.  K.  Young. 


INTRODUCTION 

A SURVEY  OF  THE  SEVERAL  SCHOOLS 
OF  PAINTING  REPRESENTED  IN 
THE  EXHIBITION 

s 

BYZANTINE  PAINTING 

ITS  INFLUENCE  ON  EARLY  ITALIAN  PAINTING 

Early  Italian  painting  as  well  as  early  painting  in  Europe  gener- 
ally derives  its  chief  characteristics  of  form  and  color  directly 
from  Byzantine  painting,  developed  in  Byzantium,  which  was 
rebuilt  and  rechristened  Constantinople  by  the  Christian  Em- 
peror Constantine,  in  the  year  328  a.d.  Under  his  influence  it 
became  the  center  of  Christian  doctrines,  customs,  and  art.  It 
was  inevitable,  however,  that  not  a little  of  the  glow  and  glamour 
of  the  Orient  that  permeated  the  life  of  this  cosmopolitan  gate- 
way between  the  East  and  the  West  should  color  the  Christian 
art  produced  under  the  strong  influence  of  Byzantine  traditions, 
which  persisted  actively  for  some  time  in  the  domain  of  art  no 
less  than  in  the  realm  of  religion. 

To  understand  early  Christian  art,  especially  early  Italian  art 
from  the  sixth  to  the  thirteenth  century,  it  is  quite  necessary  to 
know  something  of  the  general  principles  animating  Byzantine 
art.  How  these  became  influential  in  moulding  the  matter  and 
manner  of  the  early  Christian  artists,  who,  in  many  instances, 
were  hardly  more  than  a continuation  of  Byzantine  tradition 
transplanted  in  another  and  less  favorable  soil,  in  which  the  old 
roots  of  the  ancient  Greek  and  Roman  civilizations  still  con- 
tended for  supremacy  with  the  new  seed  of  the  age-old  civiliza- 
tion of  Asia,  is  the  story  of  the  conquest  of  the  West  by  the 
philosophy,  art,  and  religion  of  the  East,  for  it  must  not  be  for- 
gotten that  Christianity  is  but  Judaism  transplanted,  with 
all  that  it  implies  of  Oriental  thought  and  philosophy.  And 
the  kernel  of  Eastern  thought  is  the  love  of  the  abstract,  so 
beautifully  expressed  in  the  works  of  the  poets,  painters,  and 
philosophers  of  Egypt,  China,  Persia,  and  India,  whose  various 


XV111 


INTRODUCTION 


influences,  potent  in  shaping  Greek  thought  and  art,  attained  a 
complete  fusion  in  Byzantium  and  there  formed  a great  art  that 
became  the  true  source  of  artistic  regeneration  in  the  Europe  of 
the  early  centuries  of  the  Christian  era,  when  ancient  beliefs 
crumbled  or  were  transmuted  in  new  moulds  and  art  and  religion 
were  well-nigh  hopelessly  enmeshed  in  doctrinaire  discussions 
that  smothered  all  creative  initiative.  With  the  eclipse  of  Rome 
as  the  source  of  light  the  Old  World  fell  under  the  spell  of  the 
Oriental  glamour  of  Byzantium,  with  its  richness  of  material 
and  color,  and,  above  all,  with  its  high  standard  of  workmanship, 
always  one  of  the  chief  attributes  of  great  art. 

An  advocate  of  painting  at  the  Second  Nicene  Council  de- 
clared that  “It  is  not  the  invention  of  the  painter  that  creates 
the  picture,  but  an  inviolable  law  of  the  Catholic  Church.  It  is 
not  the  painters  but  the  holy  fathers  who  have  to  invent  and 
dictate.  To  them  manifestly  belongs  the  composition,  to  the 
painter  only  the  execution.”  In  such  an  atmosphere  of  artistic 
negation  art  would  have  perished  utterly  had  it  not  been  firmly 
rooted  in  a tradition  that  could  subordinate  itself  to  the  chang- 
ing times  while  maintaining  its  sound  workmanship  and  design, 
which  was  eventually  to  flower  into  the  new  art  of  Cimabue  and 
Giotto  and  the  noble  dramatic  rhetoric  of  Masaccio.  These,  in- 
deed, are  a far  cry  from  the  formal  and  hieratic  manner  of 
painting  developed  in  Byzantium,  but  none  the  less  link  up  with 
it  in  essentials  of  design  and  in  their  fine  feeling  for  the  signifi- 
cance of  pure  form  as  a factor  in  space  composing,  a direct  heritage 
of  Oriental  abstraction.  In  this  and  in  this  alone  did  Byzantine 
art  continue  to  exert  a subtle  but  pervasive  influence  upon 
the  developing  art  of  Europe,  that  bloomed  into  full  flower  with 
the  Renaissance,  which  ushered  in  the  glorification  of  the  real  as 
opposed  to  the  abstract,  and  marked  the  definite  parting  of  the 
ways  of  parent  and  child.  The  intellectual  and  artistic  inde- 
pendence of  Europe  was  at  last  accomplished,  at  least  out- 
wardly, and,  be  it  noted,  from  thence  on  began  its  decadence. 
As  art  simulated  more  and  more  the  appearance  of  reality  its 
true  physiognomy  disappeared,  and  painting  became  the  proud 
imitative  rival  of  the  mirror,  reflecting  everything,  interpreting 
nothing:  the  end,  utter  futility. 


INTRODUCTION 


XIX 


Once  more  the  pendulum  appears  to  swing  back  and  signs  that 
presage  a return  to  those  first  principles  of  abstract  design  and 
color  that  endow  a primitive  with  greater  significance  than  the 
most  suave  and  ingratiating  Renaissance  master  are  here  and 
there  apparent.  As  in  the  early  centuries  of  the  Christian  era, 
the  persuasive  voice  of  the  East,  the  ancient  cradle  of  the  seven 
great  religions  of  the  world,  is  again  being  heard  in  the  life  of 
Europe,  and  perhaps  something  of  that  aloofness  and  symbolic 
spirituality  that  made  Byzantine  art  great  may  again  re-enter 
our  art,  too  long  held  in  the  stultifying,  paralyzing  bondage  of  a 
matter-of-fact  realism  that  observes  the  letter  and  lets  the  spirit 
go,  paying  homage  to  the  transitdry  appearances  of  the  natural 
world  while  totally  ignoring  the  true  and  only  reality  which  is 
the  Divine  Essence,  or  Spirit,  the  real  subject-matter  of  Byzan- 
tine art  as  of  all  Oriental  art. 

This  emphasis  on  the  spiritual  rather  than  on  the  material  side 
of  life  led  to  the  development  of  a type  of  figure,  ascetic  in  the 
extreme,  in  which  the  body  was  at  first  concealed  and  then 
ignored  until  at  last  it  became  a pure  convention,  which  finds 
its  highest  expression  in  the  marvelous  mosaics  in  the  early 
churches  of  Rome,  Ravenna,  Naples,  Venice,  and,  above  all,  in 
the  architectural  splendor  of  the  church  of  Hagia  Sophia  in  Con- 
stantinople, in  which  all  the  elements  of  decoration  were  fused 
into  one  supreme  work  of  art.  The  marvelous  co-ordination  of 
parts  to  the  whole  achieved  in  this  splendid  edifice,  dedicated  to 
the  Divine  Wisdom,  affects  one  like  the  closely  interwoven  har- 
monies of  a Bach  fugue.  The  total  effect  of  these  glowing  mo- 
saics, with  their  involved  interplay  of  abstract  pattern,  is  akin 
to  music,  with  which  it  has  an  affinity  so  intimate  and  subtle  that 
the  word  mosaic  is  said  to  be  of  the  same  root  as  the  word  music. 

This,  then,  was  the  influence  that  gave  form  and  substance  to 
the  early  Christian  art  of  Europe,  struggling  up  from  the  wreck- 
age of  Greek  and  Roman  classicism.  Its  tortured  crucifixions  and 
pensive  madonnas  were  eminently  suited  to  the  melancholy  views 
of  life  held  during  the  Middle  Ages,  and  its  supremacy  was  wide- 
spread and  of  long  duration.  It  affected  French,  German,  and 
Spanish  art;  it  permeated  the  North  and  for  seven  centuries  was 
the  dominant  influence  in  Italy,  and  in  the  East  its  spirit  still 


XX 


INTRODUCTION 


survives,  though  greatly  enfeebled  through  too  much  contact 
with  European  materialism. 

ITALIAN  PAINTING 

The  chief  aim  of  early  Italian  painting  was,  like  its  Byzantine 
counterpart,  to  serve  as  adornment  of  wall  and  altar,  where  all 
who  ran  but  could  not  read  might  get  the  message  of  the  Church. 
The  medium  was  chiefly  fresco  for  walls  and  ceilings  of  chapels, 
churches,  and  palaces,  and  the  prevailing  themes  scenes  from 
biblical  story. 

Few  portraits  and  few  allegorical  scenes  were  produced  during 
the  early  Gothic  period;  art  was  the  devout  and  willing  servant 
of  its  chief  patron,  the  Church,  which  prescribed  the  form  that 
art  should  take.  In  all  the  works  of  this  period  (i  250-1400)  we 
find  an  implicit  symbolism,  proclaiming  its  Oriental  derivation, 
with  ever  the  emphasis  on  the  meaning  rather  than  on  the  appear- 
ance of  things.  The  repetition  of  dictated  themes  eventually 
resulted  in  a certain  stilted  conventionalism  that  disappeared 
only  with  the  emancipation  of  art  from  the  domination  of  the 
Church  and  its  communistic  doctrine,  in  the  latter  part  of  the 
fifteenth  century,  when  a more  personal  and  pictorial  style  came 
into  vogue  as  a result  of  the  growing  individualism  in  art  and 
life.  This  found  its  first  definite  expression  in  the  work  of  Giotto, 
who  grafted  an  Occidental  naturalism  on  the  abstract  symbolism 
of  the  East. 

Powerfully  stimulating  this  nature-loving  tendency  of  the 
European,  a natural  heritage  from  his  pagan  Greek  ancestors,  the 
influence  of  the  teachings  of  St.  Francis,  who  died  in  1226,  must 
be  taken  into  account.  To  the  Franciscan  cult  is  directly  trace- 
able the  emotional  and  mystical  love  of  nature  and  all  living 
things,  the  tenderness  toward  saint  and  human,  and  the  profound 
religious  belief,  now  become  almost  wholly  Christian,  expressed 
in  the  Gothic  art  of  the  period.  This  was  especially  true  of  the 
School  of  Siena,  where  the  precepts  and  traditions  of  the  past 
seemed  deeper  rooted  than  at  Florence,  whose  spirit  was  more 
robust  and  resolutely  independent,  and  at  times  even  a little 
coarse.  The  general  trend  of  the  Sienese  was  toward  a sweet 


INTRODUCTION 


XXI 


refinement  of  face  and  figure  that  occasionally  bordered  on  sen- 
timentalism, continuing  the  ornate  gilding,  tooling,  brocades, 
and  arabesques  of  their  Byzantine  models,  eloquently  personified 
in  Duccio  (1282-1339),  the  founder  of  the  school,  who  embodied 
the  past  in  the  present  with  a mysterious  poetic  charm  of  group- 
ing and  composition  that  often  rivals  in  persuasiveness,  if  not  in 
force,  the  nobility  of  his  Florentine  contemporary,  Giotto. 

Duccio’s  innovations  of  form  and  line,  which  gave  renewed 
emphasis  to  the  hands  and  feet,  were  carried  forward  by  Simone 
Martini  (1285 . ^1344),  w^°  was  t^e  most  important  of  his  imme- 
diate followers.  He  tempered  the  traditional  types  with  a keen 
study  of  nature  and  at  times  endowed  his  figures  with  a passion- 
ate action  quite  foreign  to  his  predecessors.  With  the  brothers 
Ambrogio  (c.  1323-1348)  and  Pietro  (c.  1335-1348)  Lorenzetti, 
something  of  Giotto’s  dramatic  power,  balanced  composition,  and 
naturalistic  verisimilitude  entered  Sienese  art,  while  continuing 
the  Sienese  tradition  of  decorative  pattern-making  in  form  and 
color  and  ornamental  workmanship,  which  are  its  chief  charac- 
teristics and  marked  it  as  the  culmination  of  mediaeval  art  as 
opposed  to  that  of  Florence,  only  forty  miles  away,  which  was 
essentially  the  harbinger  of  that  intellectual  and  political  rebirth 
that  was  destined  literally  to  discover  to  Europe  a new  heaven 
and  a new  earth.  Between  these  two  cities  waged  the  age-old 
battle  of  the  real  with  the  ideal:  the  Sienese  contending  that 
“the  Christian  saints  were  not  human  but  divine,  not  ‘vulgar’ 
but  regal,  not  approachable  but  aloof,”  while  the  Florentines, 
in  the  person  of  Giotto  and  his  followers,  going  to  nature  for 
their  models,  fashioned  their  saints  in  the  image  of  man,  which 
found  its  logical  culmination  in  the  intellectual  objectivity  of 
Raphael,  whose  Madonnas  are  little  more  than  glorified  Roman 
matrons,  elevated  by  his  art  to  the  sanctity  of  sainthood. 

We  have  but  to  compare  the  mundane  charm  and  pulsating 
reality  of  Palma’s  very  substantial  angel,  leading  the  youthful, 
boyish  Tobias  by  the  hand,  with  the  hieratic,  decorative  aspect 
of  Ferrari  Ferrara’s  Coronation  of  the  Virgin  and  Del  Biondo’s 
interpretation  of  the  same  theme  (Nos.  20,  3,  and  2)  in  this 
exhibition,  to  see  how  diametrically  opposed  were  these  two 
points  of  view  in  substance  and  treatment.  Before  the  influence 


XXII 


INTRODUCTION 


of  the  Gothic  spirit,  which  penetrated  Italy  from  the  North, 
the  Byzantine  tradition  was  gradually  dissipated  and  eventually 
disappeared  entirely,  leaving  not  a trace  of  its  influence  in  the 
works  of  the  masters  of  the  High  Renaissance,  who  appear  as  far 
removed  from  their  thirteenth,  fourteenth,  and  early  fifteenth 
century  forebears  as  though  they  had  been  born  today.  Venetian 
art  of  Titian,  Giorgione,  Tintoretto,  and  Veronese  and  Florentine 
art  of  Leonardo  and  Michelangelo  is  already  modern  art  in  the 
best  sense  of  the  word,  however  much  we  persist  in  calling  these 
painters  “old  masters.”  They  had  grappled  with  reality  and 
gotten  to  the  core  of  it,  and  to  them  El  Greco  went  for  guidance 
and  Cezanne  for  sustenance,  and  most  of  the  “discoveries”  of 
our  modern  innovators  are  to  be  found  in  Leonardo’s  notebooks. 

If  the  Florentines  were  the  leaders  in  technical  knowledge  and 
intellectual  grasp  of  natural  phenomena,  as  witness  the  clarity 
of  design  and  execution  of  the  portraits  by  Penni  and  Bronzino 
(Nos.  10  and  12  in  this  exhibition),  the  Venetians  were  the 
assured  masters  of  a rich,  sumptuous  decorative  style  in  which 
the  warmth  and  color  of  Italy,  paradoxically,  of  the  southern 
Italy,  in  close  and  constant  touch  with  the  Orient,  found  its  true 
expression.  The  worldly-wise  spirit  of  the  people  of  this  proud 
maritime  republic,  whose  argosies  sailed  the  seven  seas,  bringing 
treasure-trove  from  every  land,  was  well  expressed  in  their 
luxurious,  sensuous,  colorful  art  that  had  its  beginnings  in  the 
fourteenth-century  mosaics  and  ornamental  altarpieces  made  of 
rich  gold  stucco-work  of  Byzantine  derivation.  Achieving  its 
Golden  Age  in  the  sixteenth  century,  as  early  as  1460  it  produced 
such  masters  as  Giovanni  Bellini,  the  greatest  of  the  family  of 
that  name  and  the  real  leader  of  the  early  Venetians;  Giorgione, 
who,  like  Raphael,  died  young,  leaving  few  pictures  and  most  of 
these  the  subject  of  critical  controversy  as  to  their  true  author- 
ship, yet  a potent  factor  in  the  art  of  his  day,  influencing  his 
great  contemporaries,  who  numbered  such  giants  as  Titian, Tinto- 
retto, Veronese,  Sebastiano  del  Piombo,  Palma  il  Vecchio,  Porde- 
none,  and  the  subtle  portraitist,  Lorenzo  Lotto;  these  and  many 
other  lesser  lights  fell  under  the  spell  of  his  magic,  an  eloquent 
reflection  of  which  is  to  be  found  in  the  delicately  characterized 
Portrait  of  a Gentleman  by  Lotto  (No.  9 in  this  exhibition). 


INTRODUCTION 


XXI11 


This  was  the  great  epoch  of  Venetian  painting,  rivaling  in 
splendor  of  color  and  audacity  of  design  the  great  Florentine 
school  of  Leonardo  (1452-1519),  Michelangelo  (1474-1564),  and 
Raphael  (1483-1520),  in  whose  art  there  remained,  even  at  its 
climax,  something  of  the  calm  and  noble  severity  of  the  North. 
As  compared  with  the  sensuous  Venetians,  running  the  gamut 
of  the  chromatic  scale  and  reveling  in  art  for  art’s  sake,  the 
Florentines  preserved  a certain  austere  intellectual  detachment 
that  found  expression  in  the  rather  sharp  color  and  aspiring  lines 
of  their  lustreless  frescos,  in  which  theological,  classical,  even 
literary  and  allegorical  subjects  prevailed.  Florence,  unlike 
Venice,  had  a noble  literary  tradition  that  no  doubt  had  its  effect 
on  the  point  of  view  of  its  painters,  who  were  much  occupied  with 
the  expression  of  abstract  ideas.  The  spirit  of  Dante  continued 
to  brood  over  Florence,  while  the  spirit  of  the  Pearl  of  the 
Adriatic  might  fittingly  have  been  personified  in  Venus  rising 
out  of  the  sea. 

In  the  pietistic  asceticism  of  the  Sienese,  the  austere  intel- 
lectualism  of  the  Florentines,  and  the  voluptuous  sensuousness 
of  the  Venetians  we  have  the  three  main  currents  in  Italian 
painting,  whose  influence  was  felt  far  beyond  their  borders. 

FLEMISH  PAINTING 

Flemish  painting,  or  the  art  that  was  produced  during  mediaeval 
and  early  Renaissance  times  in  Flanders,  partakes  so  largely  of 
German,  Dutch,  and  French  culture  as  often  to  be  confused 
therewith,  and  hence  a clearly  defined  demarcation  is  not  always 
possible. 

From  the  beginning  the  Flemings  struggled  against  adverse 
circumstances,  preventing  both  national  and  individual  develop- 
ment, until  the  solidarity  of  their  nation  had  been  achieved  under 
the  Dukes  of  Burgundy,  in  1384.  Then  only  did  they  become 
politically  strong  enough  to  throw  off  the  yoke  of  Germany  and 
France  and  wealthy  enough,  through  their  fast-growing  foreign 
commerce,  to  give  substantial  encouragement  to  the  arts. 

The  earliest  work  of  which  we  have  any  record  is  to  be  found 
in  the  manuscript  illuminations  and  miniatures,  the  oldest  of 


XXIV 


INTRODUCTION 


which  date  back  to  the  eighth  century  and  reveal  a marked 
Byzantine  influence  in  figure  and  pattern,  which  gradually  suf- 
fered the  same  transformation  as  took  place  in  Italian  art,  be- 
coming freer  in  design  and  more  naturalistic  in  treatment  from 
the  fourteenth  century  onward,  attaining  their  greatest  perfec- 
tion in  the  Prayer-Books,  Missals,  and  Books  of  Hours,  such  as 
the  Tres  Beau  Livre  d'Heures  in  the  Bibliotheque  Royale,  Brus- 
sels, the  Tres  Riches  Heures  of  the  Conde  Museum,  Chantilly, 
and  the  famous  Grimani  Breviary,  executed  after  1 500,  on  a 
page  of  which  we  find  the  signature  of  Jan  Mabuse,  thus  forming 
the  natural  transition  from  missal-  to  panel-painting  that  pro- 
duced at  first  the  small  altarpieces,  usually  a triptych,  with  a 
center  panel  and  side  shutters  folding  over  like  the  covers  of  the 
missal  from  which  it  derives. 

As  everywhere  else  in  Europe,  the  early  Flemish  panel-paint- 
ings pictured  biblical  subjects  almost  entirely,  with  an  occasional 
attempt  at  portraiture  of  donor  in  prayerful  attitude,  accom- 
panying his  gift  of  an  altarpiece  to  chapel  or  church,  and  now 
and  then  an  attempt  at  landscape,  all  seen  and  expressed  with 
admirable  skill  and  originality  that  quickly  gave  a very  personal 
character  to  Flemish  art.  Uninfluenced  at  first  by  Italy,  or  Greek 
or  Roman  marbles,  their  art,  founded  on  Byzantine  tradition, 
which  was  soon  discarded,  developed  a positive  realism  in  the 
rendering  of  textures,  perspective,  color,  tone,  light,  and  atmos- 
phere, executed  with  masterly  craftsmanship  that  eventually 
rivaled  and  even  strongly  influenced  the  Italians. 

Flemish  painting,  as  distinct  from  Missal  and  Prayer-Book 
illumination,  begins  with  the  brothers  Hubert  (i37o?-i426)  and 
Jan  (i390?-l44i)  van  Eyck,  who  are  credited  with  the  discovery 
of  oil-painting,  a popular  misconception  of  the  facts,  as  oil- 
painting  was  known  before  their  time;  but  they  were  the  first 
to  make  a practical  application  of  it  to  panel-painting.  In  their 
art,  the  outstanding  glory  of  the  School  of  Bruges,  these  brothers 
summed  up  the  best  qualities  to  be  found  in  Flemish  primitijs 
who,  on  the  whole,  are  notable  for  their  fine  sense  of  color  and 
pattern,  their  truthfully  naturalistic  rendering  of  the  diverse 
tactile  values  of  cloth,  metal,  stone,  and  the  like,  and  their 
exquisitely  sensitive  modeling  of  face  and  figure,  into  which 


INTRODUCTION 


XXV 


Rogier  van  der  Weyden  (1399-1464)  introduced  a dramatic 
intensity  of  feeling,  a tragic  and  mystical  power,  and  a wonder- 
ful pathos  that  remained  unequaled  in  the  whole  range  of 
Flemish  art.  He  abandoned  much  of  the  realism  of  the  Van 
Eycks,  and  his  drawing  has  a certain  intense  angularity,  common 
to  all  tru e.  primitifs.  He  was  followed  by  such  learned  technicians 
as  Albert  Bouts  (i4io?-i475)  and  Hugo  van  der  Goes  (1440?- 
1482),  whose  strong  northern  individualism  exerted  a consider- 
able influence  upon  the  Florentine  painters  of  the  day. 

Hans  Memlinc  (i430?-i494)  and  his  brilliant  pupil,  Gerard 
David  (1460?-! 523),  continued  th^  Van  Eyck-Van  der  Weyden 
tradition,  with  certain  modifications  of  form  and  color,  tending 
toward  greater  repose,  dignity,  and  refinement  of  feeling  and 
execution,  technically  and  intellectually  less  forceful  than  their 
percursors,  heralding  the  suave  beauty  of  the  Renaissance  when 
the  North  began  to  ape  the  Italian  pseudo-classic  forms,  tenta- 
tively introduced  by  Metsys  (1466-1530),  who  traveled  in  Italy 
and  became  the  first  whole-hearted  Italianized  Fleming,  though 
still  remaining  a Flemish  primitif  in  his  general  attitude,  whose 
qualities  were  transmitted  to  Jan  Sanders  van  Hemessen  (1536- 
1555),  the  most  notable  of  his  various  followers.  Metsys  marks 
the  transition,  developed  by  Jan  Gossaert,  called  Mabuse  (1472?- 
1541),  who  brought  back  from  his  sojourn  in  Italy  a love  of 
classic  composition  with  ornate  architectural  backgrounds  and 
a use  of  the  nude  hitherto  unknown  in  Flemish  art,  retaining, 
however,  something  of  the  Flemish  gravity  of  sentiment  and 
robustness  of  color  that  distinguished  his  predecessors. 

These  qualities  were  further  developed  by  Bernard  van  Orley, 
who  became  the  foremost  exponent  of  the  Italian  influence  upon 
Flemish  art,  so  much  so  that  his  works  are  frequently  attributed 
to  Lombard  painters  of  his  time,  though  his  most  characteristic 
paintings  retain  a peculiar  Flemish  tang  that  should  distinguish 
them  from  the  work  of  his  Italian  contemporaries.  His  was  the 
last  affirmation  of  national  independence,  however,  and  the  men 
who  followed  him  only  served  to  put  Flemish  art  more  com- 
pletely under  the  domination  of  Italian  influence  until  Antonis 
Mor,  commonly  called  Antonio  Moro  (1519-1576),  entirely  dis- 
carded everything  racial,  went  to  Rome,  Madrid  and  London, 


XXVI 


INTRODUCTION 


painting  numerous  portraits  in  a highly  accomplished  and  deco- 
rative manner  that  is  artistically  akin  to  Holbein,  though  having 
much  of  Italian  and  not  a little  of  Spanish  charm  of  design  and 
color.  His  work  marks  the  point  of  departure  in  Flemish  art  and 
paved  the  way  for  the  ebullient  decorative  realism  of  Rubens, 
Jordaens,  and  Van  Dyck,  in  whom  is  summed  up  the  cosmopoli- 
tanism of  the  age,  the  full  fruition  of  the  regenerating  force  of 
the  Renaissance  that  swept  across  Europe  and  knew  no  national- 
istic boundaries. 

The  story  of  this  final  fusion  of  ideas  that  made  all  Europe  one 
culturally  is  familiar  to  all  professing  the  slightest  interest  in  art 
and  needs  no  recapitulation  here.  Rubens  and  Van  Dyck  repaid 
in  rich  measure  their  Italian  legacy  and  raised  Flemish  art  to  the 
proud  pinnacle  where  it  vied  in  power  of  invention,  in  rich, 
sonorous,  and  expressive  color,  and  in  originality  of  composition 
with  the  great  Venetians. 

Today  we  are  once  more  strongly  reminded  of  Flemish  art  in 
the  person  of  Rubens,  who  shares  with  El  Greco  the  distinction 
of  being  the  most  active  generating  force  shaping  the  trend  of 
modern  art,  as  expressed  by  its  most  advanced  practitioners, 
who  find  in  his  marvelous  knowledge  of  composition  a fertile  field 
of  inspiration.  Nor  should  it  be  forgotten  that  he  is  the  true  pre- 
cursor of  the  complex  and  many-sided  Renoir,  who  alone  of 
painters  since  his  time  has  penetrated  into  some  of  the  secrets  of 
his  art — that  is,  if  we  except  Turner,  upon  whom  he  exerted  a 
powerful  and  decisive  influence  through  his  very  original  land- 
scapes that  marked  a distinct  departure  in  the  realistic  and 
imaginative  interpretation  of  nature.  The  sensuous  appeal  of 
his  art,  its  striking  color  and  torrential  force,  combined  with  his 
enormous  productivity,  which  kept  a score  or  more  of  able 
painters,  Van  Dyck  among  them,  busy  executing  his  designs, 
has  so  blinded  the  world  to  his  true  greatness  that  we  little 
realize  that  as  a master  of  composition  he  is  second  to  none, 
entitled  to  be  ranked  with  those  three  supreme  masters  of  plastic 
composing:  Leonardo,  Michaelangelo,  and  El  Greco.  With  the 
present  impressionistic  and  casual  attitude  toward  the  art  of 
painting,  shared  by  public  and  painters  alike,  which  has  brought 
this  once  noble  art  to  its  last  stage  of  decadence,  there  is  but 


INTRODUCTION 


XXV11 


small  likelihood  of  Rubens’  pre-eminence  in  the  domain  of  com- 
position being  discovered,  appreciated,  and  emulated  by  the 
great  body  of  contemporary  artists. 

DUTCH  PAINTING 

The  early  art  of  Holland  is  hardly  to  be  distinguished  from  that 
of  its  neighboring  states,  and,  generally  speaking,  may  be  char- 
acterized as  Netherlandish  rather  than  as  specifically  Dutch  art, 
so  much  did  it  partake  of  the  tendencies  current  in  Flanders. 
The  chief  difference  is  to  be  found  in  a certain  matter-of-fact 
literalness,  an  absence  of  the  imaginative  qualities  of  the  more 
versatile  and  volatile  Flemings,  which  made  the  Dutch  essen- 
tially realistic  in  their  art  as  well  as  in  their  politics. 

No  art  better  reflects  the  national  traits  of  character  of  a 
people  than  does  the  art  of  Holland,  which  from  its  earliest  be- 
ginnings was  dedicated  to  a faithful  transcription  of  the  life, 
customs,  and  manners  of  every  type  of  its  citizens,  from  patrician 
to  the  most  lowly  proletariat.  In  its  most  literal  sense,  Dutch 
art  holds  up  the  mirror  to  nature  with  a pragmatic  insistence  on 
reality  that  rarely  ventures  into  the  realm  of  mysticism  so  elo- 
quently exploited  by  the  early  Flemish  painters.  To  be  sure, 
there  are  a few  notable  exceptions  to  this  in  the  early  art  of  Hol- 
land; and  in  Outwater  (fl.  1450-1480),  whose  Resurrection  of 
Lazarus  in  the  Berlin  Gallery  is  one  of  the  rare  works  of  this 
period,  imbued  with  great  sincerity  and  originality;  in  Geertgen 
tot  Sint  Jans  (1465 P-1493 ?);  in  the  little  known  Master  of  the 
Virgo  inter  Virgines;  in  Engelbrechtsen  (1468?-! 533);  and  in 
Lucas  van  Leyden,  we  have  a few  names  not  unworthy  to  rank 
with  their  great  Flemish  contemporaries,  the  Van  Eycks  and 
Van  der  Weyden,  whom  they  resemble  somewhat  and  by  whom 
they  were  probably  influenced  in  matter  and  manner.  This,  and 
the  influence  of  the  School  of  Cologne  upon  early  Dutch  art, 
served  to  mould  its  chief  characteristics  into  so  strong  a sem- 
blance of  Flemish  and  German  art  that  it  is  ofttimes  difficult  to 
differentiate  clearly  between  the  work  produced  in  Cologne, 
Bruges,  and  Haarlem,  so  interwoven  are  the  influences  that 
shaped  early  art  in  the  Netherlands. 


XXV111 


INTRODUCTION 


The  Italian  influence  that  became  potent  elsewhere  in  Europe 
during  the  sixteenth  century  prevailed  in  Holland  also,  though 
to  a lesser  degree,  and  not  a few  of  her  painters  sought  inspira- 
tion in  Italian  travel,  resulting  in  a curious  eclecticism,  in  which 
the  Dutch  spirit  was  housed  in  an  Italian  body,  producing  mas- 
ters such  as  Scorel  (1495-1562),  Heemskerck  (1498-1574),  a man 
of  great  force  and  originality,  Goltzius  (1558-1616),  Cornelis  van 
Haarlem  (1562-1638),  and  Lastman  (1583-1633),  chiefly  notable 
because  he  was  the  master  of  Rembrandt,  with  whom  Dutch 
art  came  into  its  own,  throwing  off  the  yoke  of  foreign  influence 
with  a finality  that  at  once  placed  it  in  the  forefront  of  European 
art.  This  remarkable  assertion  of  nationalistic  self-consciousness 
extended  to  every  corner  of  the  little  kingdom,  producing  a 
number  of  painters  of  the  first  rank  in  Delft,  Haarlem,  Amster- 
dam, Leyden,  and  The  Hague,  who  vied  with  each  other  in  tech- 
nical skill,  truth  of  observation,  and  devotion  to  national  type 
and  character. 

To  mention  the  foremost  names  of  these  painters  — Hals 
(i584?-i666),  Rembrandt  (1606-1669),  Maes  (1632-1693),  Ge- 
rard Dou  (1613-1675),  Adriaen  van  Ostade  (1610-1685),  Terboch 
(1617-1681),  Metsu  (1630-1667),  Jan  Steen  (i626?-i679),  Pieter 
de  Hooch  (1630-1677?),  Jan  Vermeer  of  Delft  (1632-1675),  Van 
Goyen  (1596-1656),  Wijnants  (1615  ?-i 679  ?),  Jacob  van  Ruis- 
dael (i628?-i682),  Hobbema  (1638-1709),  not  to  mention  a host 
of  excellent  cattle,  marine,  and  still-life  painters,  such  as  Paul 
Potter  (1625-1654),  Aelbert  Cuyp  (1620-1691),  Willem  van  de 
Velde  the  Younger  (1633-1707),  and  Jan  de  Heem  (1606-1684?) — 
is  to  epitomize  one  of  the  most  brilliant  chapters  in  European  art. 
Its  point  of  view  was  almost  wholly  realistic,  its  subject-matter 
exclusively  nationalistic,  save  for  occasional  religious  and  mytho- 
logical pictures,  also  marked  by  a strong  racial  tang  in  figure  and 
treatment,  unmistakably  Dutch. 

In  the  brilliant,  vividly  alive  portraits  of  Franz  Hals,  rivaling 
Velasquez  in  sheer  technical  virtuosity  and  sureness  of  observa- 
tion of  natural  phenomena,  in  Rembrandt’s  synthetic  grasp  of 
the  soul  of  reality,  in  Vermeer’s  delicately  adjusted  tonalities, 
subtle  characterization,  and  exquisitely  balanced  patterns,  we 
have  the  apotheosis  of  Realism,  admirably  perpetuated  in  the 


INTRODUCTION 


XXIX 


art  of  our  day  in  the  work  of  Courbet,  Millet,  Manet,  and  Cez- 
anne, in  the  portraits  of  Fantin  Latour,  and  in  the  figure-pieces 
of  Corot,  all  of  whom  owe  something  of  their  force  and  potency 
to  these  great  Dutchmen  who  made  the  art  of  their  country 
influential  in  the  artistic  councils  of  the  nations. 

GERMAN  PAINTING 

The  earliest  painting  in  Germany,  as  in  Flanders,  is  undoubtedly 
to  be  found  in  the  manuscript  illuminations,  missals,  miniatures, 
and  the  like,  in  which  biblical  subjects  are  treated  in  an  archaic 
manner,  transmitted  to  the  wall-paintings  executed  in  the 
churches  of  the  ninth  century,  and  eventually  to  panel-painting, 
when  this  came  into  vogue  during  the  latter  part  of  the  twelfth 
century. 

Characteristic  examples  of  this  early  archaic  art  are  still  to  be 
found,  the  oldest  being  at  Oberzell  on  Lake  Constance,  dating 
back  to  the  tenth  century,  while  other  and  better  examples  are 
to  be  seen  in  the  monastery  of  Branweiler  near  Cologne,  in  St. 
Michael  at  Hildesheim,  of  the  twelfth  century,  and  perhaps  the 
finest  of  all  in  the  choir  of  the  Brunswick  cathedral,  generally 
thought  to  date  from  the  early  thirteenth  century,  which  is  also 
accepted  as  the  probable  date  of  the  oldest  panels  extant — the 
two  from  the  Wiesenkirche  at  Soest,  Westphalia,  now  reposing 
in  the  Berlin  Museum. 

Up  to  about  1450  painting  in  northern  Germany,  especially  in 
Cologne,  followed  the  Gothic  tradition  of  gold  backgrounds, 
rich  decoration,  supple,  flowing  lines,  and  idealized  types,  carry- 
ing with  it  much  of  the  beauty  and  purity  of  color  and  delicacy 
of  handling  of  the  early  miniaturists,  well  represented  in  the  work 
of  the  group  of  anonymous  painters  known  under  the  generic 
name  of  Meister  Wilhelm,  and  in  that  of  Stephen  Lochner,  or 
Meister  Stephan,  as  he  is  also  called,  who  flourished  about  1450, 
and  whose  work  has  a tenderness  of  sentiment  and  handling  that 
may  be  derived  from  contact  with  French  and  Italian  art — at 
least,  the  lovely  warmth  and  purity  of  his  color,  so  unlike  the 
harshness  of  color  then  prevalent  elsewhere  in  Germany,  induce 
to  this  conclusion.  The  painting  of  this  period  was  more  inter- 


XXX 


INTRODUCTION 


national  than  national,  and  native  sentiment  gave  way  to  a 
certain  realism  in  the  figures  and  a splendor  of  ornamentation 
in  robes  and  patterns  that  in  certain  instances  recall  Bouts  and 
in  others  remind  of  the  Van  Eycks  or  Van  der  Weyden,  without 
the  latter’s  feeling  for  landscape  and  for  aerial  perspective,  but 
with  considerable  originality  of  invention  and  skillful  execution 
coupled  with  a rather  fine  sense  of  color  that,  on  the  whole,  dis- 
tinguish the  works  of  the  chief  painters  of  the  time,  most  of 
whom  are  known  and  identified  only  by  their  works,  such  as  the 
Master  of  the  Life  of  the  Virgin,  the  Master  of  the  Kinsfolk  of 
the  Virgin,  the  Master  of  the  St.  Bartholomew  Altar,  the  Master 
of  the  Heisterbach  Altar,  the  Master  of  St.  Severin,  and  Barthel 
Bruyn  (1493-1 557 ),  the  last  representative  of  the  Cologne  School. 

Political  conditions,  much  like  those  that  prevailed  in  con- 
temporary Italy,  produced  in  Germany  of  their  time  (1450-1500) 
various  local  schools,  which  became  independent  centers  of  art, 
united  by  no  national  bond,  and  we  have  the  Bohemian  School, 
which  flourished  for  a brief  space  in  the  fourteenth  century  near 
Prague,  producing  Theodorich  of  Prague,  Wurenser,  and  Kunz, 
painters  of  no  great  distinction,  though  revealing  a certain 
rugged,  heavy  Teutonic  strength;  the  Nuremberg  School,  with  no 
outstanding  master  to  its  credit,  whose  painters  oscillated  be- 
tween the  sentimentality  of  Cologne  and  the  realism  of  Prague; 
and  the  Suabian  School,  whose  most  notable  personalities,  Mult- 
scher  (fl.  c.  1437),  Lucas  Moser  (fl.  c.  1431),  Witz  (1400?-?), 
Pacher  (fl.  1460),  and  Reichlich  (i46o?-i52o),  were  men  of  pro- 
nounced individuality  and  power,  excellent  draughtsmen  and 
colorists.  These  were  the  real  precursors  of  the  great  art  which 
began  with  Schongauer  and  ended  with  Holbein  the  Younger, 
a span  of  approximately  one  hundred  years,  from  1450  to  1550, 
which  comprises  all  that  made  German  art  illustrious  and  inter- 
nationally influential.  Its  first  center  was  Nuremberg  and  its 
first  great  master  Wolgemut  (1434-1519),  the  master  of  Diirer 
and  the  creator  of  characterful  altarpieces,  imbued  with  a serious 
if  somewhat  austere  dignity  that  inclined  toward  a certain  sharp- 
ness and  angularity  in  the  figures,  recalling  Bouts,  who  may  have 
influenced  him. 

Here  it  is  fitting  to  observe  how  different  were  the  conditions 


INTRODUCTION 


XXXI 


under  which  German  art  flourished  as  compared  with  those  under 
which  Italian  art  developed.  The  latter  was  the  product  of  the 
fostering  patronage  of  the  Church  and  wealthy,  highly  culti- 
vated nobles,  while  German  art  was  largely  the  servant  of  the 
bourgeoisie,  who  were  then  in  the  ascendancy,  and  whose  middle- 
class  tastes  cared  less  for  extrinsic  beauty  and  charm  in  art 
than  for  its  intrinsic  ethical  content,  and  painting  to  be  accepta- 
able  had  to  point  a moral  or  adorn  a tale.  This  narrow  and  rather 
puritanical  viewpoint  was  heightened  and  emphasized  by  the 
Reformation,  which  turned  the  thought  of  man  inward  to  a con- 
templation of  the  nature  of  man  instead  of  to  an  admiration  of 
the  color,  beauty,  and  allurements  of  the  natural  world  in  which 
the  Renaissance  Italian  found  his  chief  delight  and  inspiration. 
The  difference  in  viewpoints  of  these  two  countries  is  as  marked 
and  obvious  as  the  difference  in  their  arts,  and  no  doubt  it  was 
this  very  difference  which  attracted  the  one  to  the  other,  making 
Diirer  a general  favorite  and  honored  guest  during  his  sojourn 
in  Venice.  But  before  the  arrival  of  this  supreme  and  universal 
genius,  who  infused  the  finest  spirit  of  the  Renaissance  into 
German  art,  Martin  Schongauer  (1450-1491)  had  already 
sounded  a note,  at  once  highly  personal  and  thoroughly  national 
in  type  and  treatment,  and  in  his  engravings  attaining  a truth 
of  observation  and  a delicate  precision  in  the  rendering  that 
make  him  more  than  a mere  forerunner  of  Diirer  (1472-1528). 
The  latter,  together  with  Hans  Holbein  the  Younger  (1497- 
1543)  raised  German  art  to  its  highest  peak. 

These  two  men,  so  widely  different  in  point  of  view  and  treat- 
ment, each  in  their  separate  ways  furnished  eloquent  affirma- 
tions of  the  national  spirit,  which  was  deeply  religious,  though 
essentially  practical  and  realistic.  In  Diirer  we  find  revealed  the 
contemplative,  pietistic,  imaginative  German,  somewhat  naive 
and  awkward  and  eminently  practical,  a bit  of  a Gothic  with  all 
of  his  scholarly  Renaissance  qualities,  powerfully  individual, 
possessed  of  real  spiritual  insight  and  great  technical  ability, 
that  exhausted  its  resources  in  the  rendering  of  details  with  an 
exquisite  clarity  and  perfection  that  brought  into  being  a new 
type  of  realism,  since  accepted  as  the  distinguishing  mark  of  the 
art  of  his  day  and  after,  his  influence  throughout  Germany  being 


xxxn 


INTRODUCTION 


widespread  and  potent,  producing  such  able  followers  as  Schaiif- 
felein  (1480?-! 540?),  whose  work  so  closely  resembles  that  of  his 
master  (he  is  thought  to  have  been  Diirer’s  apprentice)  that  the 
one  is  frequently  confused  with  the  other,  as  is  also  occasionally 
true  of  Hans  Baldung  (1476  ?-i  545),  who  was  Diirer’s  assistant, 
painting  replicas  of  several  of  his  celebrated  works,  such  as  the 
life-sized  figures  of  Adam  and  Eve,  now  in  the  Pitti  Palace  at 
Florence.  These  and  a host  of  others,  mostly  engravers,  now 
generally  called  “Little  Masters,”  from  the  size  of  their  en- 
graved plates,  reduced  Diirer’s  personal  traits  to  a formula  that 
preserved  the  letter  with  but  little  of  the  spirit,  creating  a school 
of  clever  mannerists,  whose  chief  service  was  to  make  clear  by 
contrast  the  true  virtues  of  the  master  whom  they  aped. 

Holbein  represents  the  other  side  of  German  character  as 
developed  in  his  time.  Avowedly  a realist,  a more  mature  and 
sophisticated  artist  than  Diirer,  he  was  occupied  with  the  life 
about  him,  moving  and  having  his  being  in  the  world  of  facts 
rather  than  in  the  realm  of  ideas,  a painter  of  shrewdly  charac- 
terized portraits  of  nobles,  royalties,  and  merchant  princes, 
vividly  projected  upon  paper  or  canvas  with  a few  unerring  lines 
that  have  something  of  the  force  and  finality  of  a natural  law. 
An  infant  prodigy,  who  made  masterly  drawings  at  the  age  of 
ten,  he  became  one  of  the  greatest  exponents  of  linear  harmony 
in  the  whole  history  of  art,  endowing  line  with  a new  significance, 
power,  and  beauty  that  has  won  the  unqualified  admiration  of 
the  world.  Besides,  he  was  a painter  of  large  church  panels  and 
wall-paintings,  a designer  of  cartoons,  somewhat  in  the  Italian 
manner,  showing  much  invention  but  little  real  religious  feeling 
or  spiritual  significance.  He  had  no  followers  of  consequence, 
though  his  three  contemporaries — Matthias  Griinewald  (c.  1485- 
1530),  a fine  colorist  and  an  imaginative  artist  of  the  first  rank, 
and  Lucas  Cranach  the  Elder,  a portrait  and  figure  painter  of 
great  individuality,  and  Christoph  Amberger  (1490 P-1562.?), 
whose  Portrait  of  Emperor  Charles  V,  in  the  Institute  of  Fine 
Arts  at  Siena,*  is  still  ascribed  to  Holbein — produced  works,  both 
portraits  and  altarpieces,  that  are  not  unworthy  of  the  high  tra-  | 

*The  portrait  of  the  same  subject  in  the  Berlin  Museum  is  a replica  by 
Amberger. 


INTRODUCTION 


XXX111 


dition  established  by  Diirer  and  Holbein  and  are  deserving  of 
most  serious  consideration  in  any  survey  of  fifteenth-  and  six- 
teenth-century German  art,  when  the  Teutonic  feeling  for  plastic 
form  reached  its  apogee.  Then  followed  the  natural  decline  in 
Germany  as  in  Italy,  and  art  became  mannered  and  stilted,  pro- 
ceeding in  the  well-worn  rut  of  established  conventions. 

SPANISH  PAINTING 

Spanish  painting  achieved  its  nationalistic  self-consciousness 
later  than  either  Italian,  Flemish,  or  German  art,  by  which  it 
was  strongly  influenced.  Its  earliest  manifestation  is  a matter  of 
pure  conjecture,  as  the  incursions  of  Moor,  Vandal,  and  icono- 
clast left  little  of  value  antedating  the  fourteenth  century,  and 
what  followed  for  a long  time  bore  the  impress  of  foreign  influ- 
ence so  strongly  as  to  make  it  little  more  than  a mere  echo  of 
Italy,  France,  Flanders,  or  Burgundy. 

From  the  very  beginning,  however,  a certain  Spanish  flavor 
tinctured  its  technical  procedure,  the  morose,  melancholy  gravity 
and  mystical  asceticism  of  the  race  lending  a sombre  cast  to  the 
colors  of  its  painters.  Spain  is  not  all  laughter  and  sunshine,  blue 
skies  and  green  fields,  as  represented  in  the  popular  imagination; 
one  has  but  to  recall  that  the  Inquisition  persisted  there  well  into 
the  eighteenth  century  to  understand  that  the  contrary  is  true. 
And  Spanish  art  reflects  this  condition  of  affairs:  it  was  and  has 
remained  an  expression  of  the  marked  dualism  of  the  Spaniard, 
steeped  in  a fervid  Catholicism,  a pietistic  dreamer  by  nature 
become  eminently  practical  by  force  of  circumstances  which  for 
a long  time  gave  the  imperious  necessities  of  today  precedence 
over  the  allurements  of  manana  and  made  of  Spain  a great  and 
powerful  nation,  politically,  commercially,  and  artistically.  In 
the  Spain  of  that  day  the  Church  was  all-powerful,  and  art  and 
religion  went  hand  in  hand — the  ecclesiastical  subject  ruled. 

More  autocratic  in  their  mandates  than  the  King,  the  princes 
of  the  Church  dictated  the  trend  of  art  as  well  as  statecraft,  and 
painters  followed  their  bidding  implicitly,  producing  innumer- 
able saints  and  martyrs  and  crucifixions,  in  which  torture  and 
bloody  violence  reflected  the  ghastly  and  horrible  scenes  of  the 


XXXIV 


INTRODUCTION 


torture  chamber,  where  the  gentle  message  of  Christ  was  en- 
forced by  the  iron  hand  of  the  Inquisition.  To  be  sure,  a noble 
portraiture  flourished  side  by  side  with  the  religious  subject,  but 
Murillo’s  saints  were  closer  to  the  hearts  of  the  people  than 
Velasquez’s  aristocratic  hidalgos,  admirals,  generals,  and  princes 
of  the  Church  and  State. 

From  about  the  eleventh  to  the  fourteenth  century  art  in 
Spain,  like  European  art  in  general,  emulated  Byzantine  tradi- 
tions in  types  and  workmanship,  which  remained  influential  well 
into  the  fifteenth  century,  as  may  be  seen  in  the  excellent  work 
produced  by  that  remarkable  dynasty  of  gifted  painters,  the 
Vergos  family,  which  made  its  debut  about  1434,  with  Jaime, 
and  ended  toward  1503,  with  his  nephews  or  his  sons,  Jaime  the 
second,  Raphael,  and  Pablo,  who  greatly  improved  the  general 
technique  while  retaining  the  gilded  backgrounds,  the  flat  deco- 
rative treatment  of  the  figure,  and  the  embossed  ornamentation, 
all  of  which  gives  an  archaic  aspect  to  their  work  belied  by  the 
real  painter-like  qualities  revealed  in  the  execution  of  heads  and 
hands  and  the  very  realistic  expression  of  the  faces  of  their 
saints  and  angels.  But  it  is  to  Castile  we  must  look  for  the  first 
signs  of  a notable  and  definite  direction  in  Spanish  painting, 
which  art,  under  the  influence  of  Stamina  and  Jan  van  Eyck, 
who  are  said  to  have  sojourned  there,  assumed  qualities  of  work- 
manship and  a more  realistic  viewpoint  that  ally  it  with  manifes- 
tations current  in  Italy  and  Flanders,  producing  men  of  such 
force  and  vigor  as  Bartolome  Vermejo,  rightly  accounted  the 
greatest  of  Spanish  primitives,  whose  best  work,  such  as  his 
Saint  Michael,  in  the  Wernher  collection,  London,  ranks  with 
any  of  his  Italian  or  Flemish  contemporaries. 

From  thence  on  the  Italian  Renaissance  became  increasingly 
active  in  Spain,  and  art  assumed  a more  realistic  aspect,  following 
Flemish  as  well  as  Italian  models.  Leonardo  may  be  seen  in  the 
soft  modeling  and  pensive  expression  of  the  saints  and  madonnas 
of  Morales  (i5c>9?-i586),  while  the  influence  of  the  Flemish  por- 
trait painter  Antonio  Moro  upon  his  pupil  and  follower,  Alonzo 
Sanchez  Coello  (1515?-!  590),  is  so  pronounced  that  it  is  some- 
times difficult  to  distinguish  master  from  disciple.  Both  pre- 
served a certain  hard  and  formal  manner,  admirably  suited  to 


INTRODUCTION 


XXXV 


the  atmosphere  of  haughty  aloofness  characteristic  of  Spanish 
court  circles.  But  the  true  greatness  of  Spanish  art  does  not  fully 
assert  itself  until  the  appearance  of  Theotocopuli  (1548  ?-i625), 
called  “El  Greco,”  who  revealed  its  true  physiognomy,  com- 
pounded of  an  almost  fanatical  religious  fervor,  a realistic  appre- 
ciation of  the  significance  of  natural  phenomena,  and  a mystical 
interpretation  of  its  relation  to  the  spirit. 

Strongly  influenced  by  the  Venetians,  particularly  Tintoretto, 
whose  general  style  and  color  is  followed  with  modifications  and 
exaggerations  in  his  earlier  work,  El  Greco  arrived  in  Spain  about 
.1577,  taking  up  his  residence  in  Toledo,  where  his  first  works 
were  the  paintings  for  the  high  altar  of  Santo  Domingo  el  Anti- 
guo.  The  reason  for  his  coming  to  Toledo,  like  all  other  facts  of 
importance  concerning  his  life,  remains  shrouded  in  mystery, 
and,  aside  from  various  documents  relating  to  certain  lawsuits, 
contracts,  and  receipts,  there  is  a singular  absence  of  any  specific 
evidence  of  his  movements  either  before  or  after  his  arrival  in 
Spain.  Who  were  his  parents,  his  wife,  his  immediate  intimates, 
and  all  the  personal  facts  of  his  private  life,  remain  as  effectually 
hidden  as  the  soul  of  the  man  is  clearly  and  eloquently  revealed 
in  his  paintings. 

So  greatly  misinterpreted  that  a clear  understanding  of  his 
art  is  made  well-nigh  impossible  by  the  violent  opposition  of 
extravagant  praise  and  ignorant,  almost  fanatical  disparagement 
of  all  those  qualities  which  constitute  his  real  greatness,  El 
Greco  is  at  once  a red  rag  of  contention  among  academicians  and 
a rallying  cry  to  the  progressives.  Briefly,  these  qualities  which 
set  his  work  apart  from  that  of  even  his  greatest  contemporaries 
are  qualities  of  mind  and  imagination  that  conceived  color  in 
relation  to  form  as  an  active  organizing  force,  which  gives  an 
extraordinary  potency  and  originality  to  his  compositions.  The 
essential  modernity  of  his  viewpoint  has  become  the  generating 
force  in  the  art  of  our  day,  which  is  turning  more  and  more 
toward  Greco  for  spiritual  as  well  as  technical  guidance  and 
support. 

The  intense,  burning  religious  fanaticism  of  the  Spain  of  his  day 
found  in  him  its  most  devout  exponent,  and  it  may  well  be  said 
that  Greco’s  art,  after  its  emancipation  from  its  early  Venetian 


XXXVI 


INTRODUCTION 


leanings,  is  all  spirit,  while  that  of  Velasquez  is  more  truly  of  the 
earth  earthy,  celebrating  the  glory  of  temporal  things.  This 
intensity  of  feeling,  which  found  its  expression  in  an  emphasis 
of  all  those  qualities  that  serve  to  reveal  character,  gives  to  his 
portraits  and  to  the  figures  of  the  saints  in  his  religious  pictures 
a strange  and  compelling  aspect  of  pent-up  eagerness,  as  of  souls 
seeking  release  from  the  bondage  of  flesh.  In  his  indefatigable 
search  for  the  true  inwardness  of  man  and  matter,  he  carried  his 
characterization  to  the  point  where  it  assumes  the  appearance 
of  caricature  to  the  literal-minded  who,  now  as  in  his  own  day, 
are  baffled  and  disconcerted  by  the  mysterious,  mystical  force 
that  is  the  soul  of  his  art. 

The  appreciation  of  his  work  has  therefore  been  correspond- 
ingly slow  and  confined  to  a few  discerning  artists,  critics,  and 
connoisseurs,  by  whom  he  is  esteemed  as  one  of  the  most  original, 
moving  personalities  in  the  whole  history  of  painting.  Cezanne 
found  in  him  the  solution  he  was  seeking  of  the  fundamental 
problems  of  organized  form  and  color,  wherein  lies  the  creative 
impulse  of  the  art  of  painting.  This  principle  of  correlated  forms, 
in  which  form  and  color  are  employed  organically  in  relation  to 
their  spatial  value — endowing  his  compositions  with  an  incor- 
ruptible homogeneity,  in  which  every  part  is  intimately  related 
to  the  whole — this  generating  principle,  the  true  basis  of  all  the 
arts,  whether  of  music,  drama,  architecture,  or  painting,  is  El 
Greco’s  supreme  contribution  to  painting.  The  color  and  form 
in  his  painting  are  as  closely  organized  as  an  onion,  and,  like  it, 
everything  revolves  around  a common  focal  point,  from  which 
the  forms  radiate,  overlapping  and  interlacing  in  a series  of  com- 
plex contours  that  are  lost  one  in  the  other. 

The  application  of  this  principle,  whether  to  the  portrayal  of 
persons  or  places,  endows  his  pictures  with  a vivid,  arresting 
power  that  makes  of  his  portrait  of  the  castellated  town  of 
Toledo,  perched  on  its  rocky  eminence  against  a turgid  sky,  the 
most  memorable  portrait  of  a place  ever  painted. 

His  self  portrait,  belonging  to  the  late  Senor  Don  A.  de  Beruete 
y Moret,  shown  in  the  Exhibition  of  Spanish  Old  Masters  held 
in  the  Grafton  Galleries,  London,  in  1913,  reveals  him  a bald- 
headed  man  with  a dark,  pointed  beard,  large  ears,  sloping 


INTRODUCTION 


XXXV11 


shoulders,  and  a face  wearing  the  expression  of  a fanatic,  with 
large,  deep,  dark  eyes  set  in  a bony,  pallid,  ascetic-looking  coun- 
tenance. This  portrait,  which  is  assigned  to  his  second  period, 
1584-1604,  shows  him  wearing  a councillor’s  ruff  and  a black 
robe  trimmed  with  fur,  the  whole  bearing  impressive  to  the 
point  of  austerity.  And  Pacheco,  who  visited  him  in  1611,  says 
that  “He  was  in  all  things  as  singular  as  in  his  paintings,”  and 
that  “He  was  a great  philosopher  given  to  witty  sayings,  and 
wrote  on  painting,  sculpture,  and  architecture.”  The  account 
given  by  Jusepe  Martinez  of  how  “He  earned  many  ducats  but 
spent  them  with  too  much  ostentation  on  his  house,  carrying  it 
even  so  far  as  to  have  subsidized  musicians,  in  order  to  enjoy 
an  additional  luxury  during  meals,”  reveals  a side  of  his  nature 
hardly  to  be  inferred  from  his  paintings  of  ascetic  saints  and 
stern  councillors,  though,  to  be  sure,  his  rich  and  beautifully 
harmonized  color  is  in  the  highest  degree  indicative  of  a refined 
sensibility  to  which  all  forms  of  beauty  were  a necessity  and  not 
a luxury.  And  that  he  was  far  from  being  insensible  to  the  appeal 
of  what  we  are  pleased  to  call  “charm”  is  strikingly  shown  in 
the  surpassingly  lovely  portrait  of  his  daughter,  painted,  in  the 
prime  of  life  and  loveliness,  with  a subtle  and  exquisite  mas- 
tery of  actual  representation  that  rivals  in  skill  and  delicacy  the 
supreme  masters  of  realism.  Like  the  love  of  music  referred  to 
by  Martinez,  this  lovely  countenance  reveals  the  essential  gen- 
tleness of  a soul  that  may  yet  come  to  be  esteemed  rightly  as 
the  supreme  glory  of  Spanish  art. 

Compared  with  him  Velasquez  (1599-1660)  appears  little 
better  than  a glorified  Franz  Hals,  engrossed  in  the  outward  pomp 
and  show  of  the  visible  world,  which  he  painted  with  unsur- 
passed veracity.  Rarely  indeed  have  head  and  hand  been  so 
completely  at  the  service  of  an  observation  so  comprehensive 
and  penetrating,  which,  through  its  sheer  technical  virtuosity, 
successfully  simulates  a depth  of  psychological  analysis  of  char- 
acter in  these  brilliantly  painted  portraits  that,  in  reality,  they 
do  not  possess  when  subjected  to  searching  scrutiny.  Wedded  to 
the  earth  and  its  glory,  he  was  the  first  Spanish  artist  to  break 
away  completely  from  the  domination  of  the  Church,  passing 
his  life  under  royal  patronage,  painting  for  the  most  part  por- 


xxxvm 


INTRODUCTION 


traits  of  the  scions  of  the  House  of  Hapsburg,  its  ministers  and 
great  dignitaries,  with  occasional  excursions  into  the  domain  of 
composition,  wherein  he  wrought  such  notable  masterpieces  of 
vigorously  and  harmoniously  grouped  figures  as  the  world- 
famous  Las  Meninas,  The  Tapestry  Weavers , and  The  Surrender 
at  Breda.  In  these,  no  less  than  in  his  many  studies  of  dwarfs, 
beggars,  and  types  of  the  countryside,  in  his  portraits,  landscapes, 
and  genre  pieces,  he  envisaged  the  visible  world  with  a sure,  fluent 
brush  that  set  his  figures  squarely  on  the  ground  in  an  atmosphere 
of  reality  that  has  been  the  despair  and  admiration  of  artists  ever 
since.  In  him  the  pragmatic  side  of  Spanish  character  achieved 
its  most  striking  apotheosis,  but  perhaps  for  that  very  reason  he 
cannot  be  called  its  most  representative  interpreter,  as  his  art 
is  concerned  with  but  one  half  of  Spanish  life  and  character. 
Rather,  the  palm  must  be  awarded  to  El  Greco.  Velasquez  had 
several  pupils  and  followers  who  perpetuated  his  way  of  looking 
at  things;  Mazo  (1615  ?-i66y),  his  son-in-law,  was  one  of  these, 
and  Carreno  de  Miranda,  for  a time  his  assistant,  another,  both 
of  whom  were  painters  of  more  than  common  ability,  who  have 
achieved  the  distinction  of  having  certain  of  their  works  at- 
tributed to  their  master,  so  closely  did  they  follow  in  his  foot- 
steps. 

After  Velasquez  came  a rather  rapid  decline,  and  only  a few 
names  of  consequence  remain  to  be  mentioned,  one  of  the  most 
notable  being  Francisco  de  Zurbaran  (1598-1662),  whose  art  is 
one  of  the  most  typical  expressions  of  the  Spanish  temperament, 
uniting  the  two  main  tendencies  of  the  Spanish  School  of  his 
time:  fervent  asceticism  in  feeling  and  unmitigated  realism  in 
its  presentation.  The  heads  in  his  portraits  are  strongly  individ- 
ualized, revealing  a degree  of  inner  intensity  of  feeling  surpassed 
only  by  El  Greco.  He  had  an  astute  and  sympathetic  under- 
standing of  character,  which  he  presented  with  a powerful  and 
frank  directness  that  endows  his  work  with  uncommon  vitality. 
His  masterly  St.  Thomas  Aquinas , painted  for  the  Collegiate 
Church  in  Seville,  is  one  of  the  most  impressive  productions  of 
the  Spanish  School,  beside  which  the  sweetly  sentimentalized 
madonnas  of  Murillo  (1618-1682)  appear  singularly  insipid  and 
ineffectual.  His  earlier  paintings  of  peasant  types  had  more 


INTRODUCTION 


XXXIX 


power  and  directness  and  show  a sincere  study  of  nature,  which 
was  later  dissipated  in  a vaporous,  misty  rendering  of  form  that 
was  almost  structureless.  The  other  extreme  is  found  in  the 
rather  forced  contrasts  and  overdramatic  emphasis  of  the  art  of 
Ribera  (1588-1656),  who  was  influenced  by  Caravaggio,  and  in 
turn  strongly  influenced  Italian  art  of  the  Decadence.  In  him 
the  Spanish  love  of  the  grotesque,  the  horrible,  and  of  strong, 
brutal  passions  found  its  most  powerful  exponent  and  Spanish 
art  its  last  notable  representative.  After  him  the  corridors  of 
the  Spanish  temple  of  art  resounded  with  echoes  of  its  past 
greatness,  and  until  the  arrival  of  Goya  (1746-1828)  Spanish 
painting  was  practically  non-existent. 

This  very  unusual  and  original  genius,  whose  talent  for  art 
was  discovered  by  a monk,  was  the  son  of  humble  peasants.  His 
clear,  ironic,  and  satirical  mind  saw  through  the  shams  and  mock- 
eries of  his  age  and  depicted  them  with  a brutal,  unflinching 
truthfulness  that  spared  neither  saint  nor  sinner.  His  alert,  ob- 
serving, and  too  truthful  vision  swept  over  the  motley  pageant 
of  contemporary  life  like  a withering  flash  of  lightning,  exposing 
its  shams  and  subterfuges.  In  a series  of  social  and  political  sa- 
tires, such  as  his  Caprichos , and  that  fascinatingly  repulsive 
expose  of  the  horrors  and  the  unspeakable  bestialities  of  war, 
known  as  Desastres  de  la  Guerra , he  pilloried  the  faults  and  foibles 
of  the  society  of  his  day. 

The  merciless  ruthlessness  of  his  characterizations  of  con- 
temporary “worthies,”  depicted  with  a mordantly  revealing 
power,  is  well  summed  up  in  his  unabashed  and  famous  por- 
trayal of  Maja , presented  to  the  astonished  gaze  of  Madrid 
lolling  on  her  couch,  sans  clothes,  sans  modesty,  sans  everything 
that  could  in  the  slightest  degree  propitiate  the  conventions. 
But  the  discerning  nature  of  the  man’s  mind  is  even  more  clearly 
revealed  in  the  portrait  of  the  same  subject  in  the  same  posture, 
properly  clothed,  yet  infinitely  more  suggestive  and  provocative 
than  the  nude  presentation  of  this  lady,  which  in  its  day  and 
since  has  continued  to  shock  the  sensibilities  of  the  prudish  who 
remain  complaisantly  insensible  to  the  real  subtlety  of  his  wit. 

To  the  end  he  remained  in  rebellious  opposition  to  the  canons 
and  conventions  of  his  day,  and  at  the  age  of  seventy-one,  eleven 


xl 


INTRODUCTION 


years  before  his  death,  he  expressed  the  same  cynical  disregard 
of  popular  opinion  in  his  interpretation  of  Santas  ‘Justa  and 
Rufina  in  the  Cathedral  of  Seville,  the  models  for  which  were 
two  notorious  courtesans,  which  he  painted  with  the  observation 
that  he  would  make  vice  worshipped.  In  him  Spanish  painting 
achieved  a brilliant  restoration  of  its  lost  prestige,  and  through 
him  it  was  destined  powerfully  to  influence  the  direction  of  mod- 
ern art  through  the  French  Impressionists,  who  found  in  his 
modernity  of  subject  and  treatment  a fertile  field  of  inspiration. 

FRENCH  PAINTING 

Early  painting  in  France  reveals  marked  Byzantine  derivation  in 
form  and  color,  influencing  the  miniaturist  and  illuminator  as 
well  as  the  painter  of  frescoes,  who  adopted  the  traditional  types 
made  familiar  in  Byzantine  art,  and  it  even  extended  to  the  early 
glass-painting  in  the  churches,  which  by  the  thirteenth  century 
had  become  a widely  practiced  craft  in  France.  Certain  of  the 
Missals  and  Books  of  Hours  of  these  early  days  contain  minia- 
tures depicting  both  mundane  and  religious  subjects  of  a beauty 
of  color  and  workmanship  quite  unsurpassed  in  its  particular 
field. 

The  fourteenth  and  fifteenth  centuries  witnessed  an  ever- 
increasing  realism  in  drawing  and  color  with  a corresponding  loss 
in  the  decorative  value  of  the  designs  produced  during  this 
period.  But  this  growing  realism,  a reflection  of  the  change  tak- 
ing place  elsewhere  throughout  Europe,  did  not  bring  with  it  an 
increase  of  national  character.  Painting  in  France  still  remained 
a composite  of  various  influences,  chiefly  Flemish  and  Italian, 
though  to  what  degree  and  whether  or  not  the  early  painters 
were  really  French  or  foreigners,  imported  by  the  court,  still 
remains  a much-mooted  question.  Certainly  very  few,  if  indeed 
any,  of  these  early  men  who  are  known  to  us  exhibit  a clearly 
defined  racial  physiognomy,  and  it  would  therefore  be  a useless 
digression  to  burden  this  brief  introduction  to  our  collection  of 
eighteenth-century  paintings  with  a recital  of  their  names,  which 
may  be  gleaned  from  any  adequate  history  of  French  art.  Suffice 
it  to  say,  the  growing  influence  of  Italy,  culminating  in  the  visit 


INTRODUCTION 


xli 


of  Leonardo  to  the  court  of  Francis  I,  who  had  an  unbounded 
admiration  of  all  things  Italian,  promoted  the  firm  establish- 
ment of  the  classical  ideal  in  art  and  architecture,  and  for  two 
centuries  the  home  of  the  Gothic  was  given  up  to  a sedulous  aping 
of  antiquity.  An  exception  to  this,  so  notable  that  it  is  deserving 
of  more  critical  consideration  than  it  has  so  far  received,  is  found 
in  the  vigorous  realism  of  the  brothers  Le  Nain,  who  flourished 
in  the  early  seventeenth  century.  They  made  a sincere  and 
eminently  successful  attempt  to  portray  the  life  of  their  day, 
producing  a type  of  genre  distinguished  by  its  faithful  observa- 
tion and  vigorous  execution  that  is' a striking  anticipation  of 
nineteenth-century  realism.  But  these  resolute  and  individual 
voices  passed  unheeded  in  the  midst  of  the  classical  chorus  that 
was  echoing  Italy  and  the  Italians,  and  despite  their  originality 
and  integrity  of  character  they  remained  an  isolated  phenomenon 
in  the  art  of  their  time,  left,  like  the  books  of  Stendahl,  to  be 
discovered  and  esteemed  at  their  true  worth  by  a later  age. 

With  the  advent  of  Louis  XIV  to  the  throne  of  France  paint- 
ing assumed  a more  definite  nationalistic  character,  though,  to 
be  sure,  this  was  as  superficial  as  the  life  of  the  day,  colored  by 
the  artificiality  of  the  court  and  the  bombastic  character  of  the 
King,  who  delighted  in  all  manner  of  grandiloquent  and  pom- 
pous shows  that  left  little  room  for  sincerity  of  purpose.  The 
result  was  a prostitution  of  art  to  the  vanities  of  the  day,  which 
meant  power  and  position  to  him  who  could  best  flatter  the  con- 
ceit of  the  King  and  his  fawning  courtiers,  whom  we  find  de- 
picted in  the  guise  of  the  heroes  of  antiquity,  the  Caesars  and 
the  great  conquerors,  Hannibal,  Alexander,  and  Xerxes,  whose 
exploits  were  transformed  into  triumphs  of  Louis.  The  most 
active  and  industrious  of  these  flatterers  was  the  decorator  and 
portrait  painter  Charles  Le  Brun  (1619-1690),  the  virtual  artistic 
dictator  of  the  realm.  Possessed  of  very  considerable  technical 
ability  and  rather  adroit  in  the  disposition  of  the  numerous 
figures  he  assembled  in  his  pseudo-historical  compositions,  his 
affectations,  his  weak  drawing  and  poor  color  made  him  a baneful 
influence  upon  the  art  of  his  time.  Largilliere  (1656-1746)  and 
Rigaud  (1659-1743)  were  equally  typical  products  of  a time  that 
made  a ceremony  of  dress,  creating  a Pantheon  of  dressmaker’s 


xlii 


INTRODUCTION 


models,  without  heart,  soul,  or  wit.  Nevertheless,  one  must  admit 
that  these  painters  correctly  reflected  the  spirit  of  their  day, 
and  their  art  is  therefore  far  from  negligible  as  authentic  docu- 
ments in  the  society  and  cultural  history  of  France,  whose  life 
under  the  Regency  tended  more  and  more  to  an  insipid  dilet- 
tantism that  found  its  highest  pleasure  in  the  creation  and  enjoy- 
ment of  a make-believe  Arcadia  of  shepherds  and  shepherdesses 
in  silks  and  satins. 

The  saving  grace  in  all  this  frivolity  was  its  revelation  of  truly 
charming  decorative  qualities  that  betrayed  a native  sense  of 
design  and  color,  since  recognized  as  typically  French.  It  marked 
the  beginning  of  something  essentially  racial  and  national,  that 
was  destined  to  find  its  fuller  expression  in  the  delicate  and 
sprightly  conceived  coquettes  of  Watteau  (1684-1721),  in  the 
voluptuous  and  sensuous  amours  of  Fragonard  (1732-1806), 
and  in  the  subtle  realism  of  Chardin  (1699-1779).  With  Watteau, 
French  art  came  into  its  own.  He  was  the  painter  who,  above  all, 
epitomized  the  seductive  and  languid  spirit  of  the  time,  bril- 
liantly personified  in  his  Embarcation  for  Cythera , in  which  he 
assembled  the  various  groups  of  lovers  scattered  throughout  his 
works,  who  are  here  shown  embarking  for  the  island  of  the  blest 
with  a certain  coquettish  hesitancy  that  only  serves  to  heighten 
the  sensuous  appeal  of  this  exquisite  gathering  of  devotees  of 
Amor. 

In  these  poetic  fetes  galantes  Watteau  created  a new  genre  of 
ingratiating  charm,  whose  subtle  insinuations  have  come  to 
typify  the  France  of  his  day.  Apart  from  his  subject-matter,  he 
was  essentially  modern  in  the  practice  of  his  art,  introducing  a 
new  method  of  handling  color  that  anticipates  the  Impression- 
ists in  its  qualities  of  light  and  atmosphere.  In  fact,  he  may  be 
accounted  among  the  first  of  latter-day  French  painters,  whose 
delicate,  ethereal  fancy  was  given  a Rubenesque  turn  and  volup- 
tuousness of  form  and  color  a hundred  years  later  in  the  viva- 
cious, daring  art  of  Fragonard  (1732-1806),  in  whom  the  school 
came  to  a brilliant  close  after  having  produced  such  facile  deco- 
rative painters  as  Tocque  (1696-1772),  Van  Loo  (1707-1771), 
and  Boucher  (1703-1770),  who  transformed  Watteau’s  charming 
fetes  into  a glorified  stage-show  that  was  as  decorative  as  it  was 


INTRODUCTION 


xliii 


unreal.  But  now,  as  in  the  seventeenth  century,  when  the  Le 
Nain  brothers  made  their  ineffectual  protest,  there  were  not 
wanting  those  whose  sincere  and  frank  natures  revolted  at  all 
this  banality,  producing  art  totally  at  variance  with  the  affected 
spirit  of  the  times. 

Chardin  was  the  outstanding  example  of  this  rare  sort  of  in- 
dependence, and  he  was  little  understood  by  his  contemporaries, 
whose  eyes  were  unaccustomed  to  such  delicately  observed  and 
truthfully  expressed  realism,  whose  silvery  tonalities,  fluent, 
expressive  brush  work,  and  beautifully  balanced  compositions 
recall  something  of  the  exquisite  perfection  of  the  art  of  Ver- 
meer. A painter’s  painter,  he  has  still  to  attain  the  vogue  among 
collectors  and  connoisseurs  which  his  art  merits.  The  best  traits 
of  French  character  are  summed  up  in  him.  The  reaction  to  all 
the  make-believe  in  art  and  life  (the  two  are  really  synonymous, 
the  first  only  following  the  latter)  against  which  the  work  of 
Chardin  was  a protest,  came  with  a return  to  an  objective  view 
of  art  when,  for  the  third  time,  it  submitted  itself  to  classic 
discipline,  finding  its  inspiration  in  Greek  and  Roman  marbles, 
taking  delight  in  correct  drawing,  perfect  proportions  (accord- 
ing to  ideal  standards),  and  balanced  composition. 

Its  foremost  exemplar,  its  priest  and  prophet,  was  Jacques 
Louis  David  (1748-1825),  whose  practice  set  the  fashion  for 
French  painting  for  nearly  half  a century.  Its  general  style  was 
sculpturesque  rather  than  pictorial,  its  treatment  precise,  im- 
personal, and  unsentimental,  reflecting  the  prevailing  martial 
spirit  surging  in  Revolutionary  France,  of  which  David  became 
the  acknowledged  representative  in  art,  which  did  not,  however, 
prevent  him  from  later  paying  assiduous  court  toNapoleon, whose 
reign  he  immortalized  in  a series  of  brilliantly  painted  canvases, 
such  as  the  famous  Coronation  of  Napoleon  /,  in  the  Louvre,  which 
display  all  his  qualities  of  sound  workmanship,  naturalistic  por- 
traiture, and  ordered  composition.  He  was  accompanied  by  a 
group  of  accomplished  portrait  painters,  among  whom  we  find 
such  brilliant  painters  as  Duplessis  (1725-1802)  and  the  inimitable 
Vigee  Le  Brun,  who  gave  to  French  portraiture  a new  distinction 
of  line  and  color,  whose  charm  still  commands  the  admiration  if 
not  the  emulation  of  the  world  of  art,  now  fallen  so  strongly 


xliv 


INTRODUCTION 


under  the  spell  of  modern  French  art,  through  which  the  re- 
creating force  of  ancient  ideals  of  painting  is  again  reasserting 
itself. 


BRITISH  PAINTING 

Painting  in  England,  in  the  modern  acceptance  of  the  word, 
did  not  come  into  existence  as  a native  art  until  the  seven- 
teenth century,  when  the  foreign  influence  imported  by  Holbein, 
Rubens,  Van  Dyck,  Lely,  and  Kneller  had  been  assimilated  and 
given  national  expression  in  the  work  of  Hogarth  (1697-1764), 
who  is  really  the  first  painter  of  any  importance  in  the  history 
of  English  art. 

It  is  not  without  its  special  significance  that  the  first  artist  of 
note  to  make  his  appearance  in  England  should  be  a satirical 
anecdotalist  and  moralist,  an  illustrator,  whose  chief  concern 
in  his  pictures  was  to  point  a moral  and  adorn  a tale,  thus  re- 
flecting the  true  English  genius,  which  has  always  found  its 
most  characteristic  expression  in  literature  rather  than  in  the 
plastic  arts.  In  his  point  of  view  and  choice  of  subject-matter 
Hogarth  was  really  of  the  school  of  Addison,  Dryden,  Pope,  and 
Sheridan, whose  vein  of  satirical  humor  finds  its  pictorial  counter- 
part in  his  work,  brilliantly  expressed  in  his  series  of  social 
satires  depicting  The  Rake's  Progress,  wherein  the  faults  and 
foibles  of  the  day  were  held  up  to  ridicule  with  a sense  of  char- 
acterization unrivaled  in  English  art.  A fluent,  supple  brush- 
man,  as  a painter  he  was  to  the  manner  born,  and  possessed  of 
such  verve  and  originality  that  he  remains  one  of  the  most  in- 
teresting personalities  in  the  whole  range  of  English  art. 

That  he  had  a decided  influence  upon  Reynolds  (1723-1792), 
who  was  his  most  brilliant  successor,  is  obvious  both  in  the 
early  Self  Portrait  and  in  the  Caricature  of  Johnson,  Totten 
Beauclerk,  Bennett  Langton,  and  Reynolds  Himself,  shown  here 
under  numbers  no  and  109.  Something  of  an  infant  prodigy, 
making  drawings  at  the  age  of  seven,  Reynolds  was  influenced 
in  his  development  by  the  art  of  Hogarth,  Van  Dyck,  and 
Rembrandt,  besides  being  a devoted  student  of  the  great  Ital- 
ians, especially  the  Venetians,  whom  he  greatly  admired  and 


INTRODUCTION 


xlv 


emulated  in  many  of  his  portraits.  A true  cosmopolitan,  at  home 
with  the  literati  no  less  than  with  society,  Sir  Joshua  was  a 
true  eclectic,  culling  the  virtues  of  many  schools  with  a learned 
regard  for  tradition,  which  he  expounded  in  his  famous  “Dis- 
courses,” delivered  before  the  Royal  Academy  during  his  presi- 
dency, and  clearly  exemplified  in  his  art.  Imbued  with  a strong 
sense  of  reality,  his  best  portraits  have  a vitality  and  character 
that  give  him  a leading  place  in  the  creation  of  an  English 
School  of  painting,  and  his  influence  upon  the  art  of  his  country 
was  far-reaching  and  lasting. 

His  great  contemporary  (and  toward  the  end  his  rival),  Gains- 
borough (1727-1788),  was  a more  original  and  forceful  talent, 
who  ganged  his  own  gait  regardless  of  rules — an  independent, 
temperamental  nature,  and  perhaps  the  most  English  of  all  the 
English  painters.  At  first  strongly  influenced  by  the  Dutch 
landscape  painters  and  Van  Dyck  in  portraiture,  through  dint 
of  shrewd  and  constant  study  of  nature  he  soon  developed  a 
manner  wholly  his  own,  revealing  an  uncommonly  fine  sense  of 
color  and  design,  always  imbued  with  a poetic  and  decorative 
quality  that  sets  his  work  apart  in  the  history  of  English  art. 
As  may  be  seen  by  the  examples  of  his  work  shown  here,  he 
excelled  in  landscapes  as  well  as  in  portraits.  The  latter  were 
usually  painted  in  a cooler  key  of  color  than  the  landscapes, 
which  continued  to  follow  somewhat  the  warm,  romantic  tonality 
of  the  Dutch  landscapists.  His  work  is  replete  with  experiments 
and  departures  from  traditional  practice,  revealing  the  original 
turn  of  his  mind,  the  most  notable  example  of  which  is  his  cele- 
brated Blue  Boy,  painted  as  a demonstration  of  the  fallacy  of 
Reynolds’  dictum  that  a composition  should  always  be  warm  in 
color  and  light. 

A not  unworthy  rival  of  these  two  pillars  of  English  art  was 
the  brilliant  and  vivacious  Romney  (1734-1802),  whose  many 
portraits,  especially  of  women,  are  frequently  quite  as  masterful 
both  in  execution  and  characterization  as  any  of  Reynolds  and 
Gainsborough.  A talented,  ambitious  man,  an  astute  observer 
of  physiognomy,  a brilliant  technician,  whose  grace  and  freedom 
of  line  gives  unquestionable  charm  to  his  portraits,  he  has  failed 
of  attaining  the  highest  place  by  reason  of  a certain  incoherence 


xlvi 


INTRODUCTION 


in  composition  and  lack  of  co-ordination  in  his  work.  Neverthe- 
less his  success  was  so  great  and  his  rivalry  with  Reynolds  so 
pronounced  that,  by  1781,  Lord  Thurlow,  then  Lord  High 
Chancellor,  declared  that  “Romney  and  Reynolds  divide  the 
town,  and  I am  of  the  Romney  faction.” 

Various  minor  stars,  acceptable  and  even  very  able  painters, 
such  as  Ramsay  (1713-1784),  Cotes  (1725-1770),  Opie  (1761- 
1807),  and  Beechey,  gravitated  into  the  orbit  of  these  major 
constellations  and  existed  more  or  less  by  reflected  glory,  emulat- 
ing the  manner  of  their  superiors  with  varying  degrees  of  success. 

A notable  exception  to  this  general  mediocrity  is  found  in 
Raeburn  (1756-1823),  the  highly  individual  and  original  Scotch- 
man. He  stands  out  among  the  portrait  painters  of  his  time  in 
England  by  reason  of  the  bluff  candor  and  straightforward 
frankness  of  his  characterizations,  which  are  imbued  with  a 
Scotch  veracity  and  a directness  of  handling  that  is  comparable 
to  Hals  and  Velasquez.  To  be  sure,  his  art  is  marked  to  some 
extent  by  the  prevailing  fashions  of  the  day,  but  he  is  none  the 
less  the  least  conventional  of  the  great  British  portrait  painters, 
and  his  influence  then  and  since  has  been  widespread.  He  was  a 
shrewd  and  penetrating  reader  of  character,  which  he  presented 
in  the  most  convincing  and  unaffected  manner  possible.  Nor  are 
his  works  lacking  in  subtlety  of  handling.  His  technical  pro- 
cedure was  as  direct  and  unaffected  as  his  point  of  view;  he 
appears  to  have  made  no  preliminary  studies  for  his  portraits, 
nor  did  he  use  chalk  or  pencil  in  placing  the  subject  on  the 
canvas,  which  he  attacked  at  once  with  the  brush  and  without 
employing  a mahlstick. 

The  work  of  his  contemporary,  Lawrence  (1769-1830),  is  as 
suave  and  ingratiating  as  that  of  Raeburn  is  blunt  and  out- 
spoken. Courted  and  feted  at  home  and  abroad  from  his  earliest 
youth,  made  Painter  in  Ordinary  to  the  King  at  the  age  of 
twenty-three,  he  was  the  painter  of  society  par  excellence , paying 
flattering  homage  to  power  and  beauty,  with  a courtly  grace  and 
distinction  that  rivals  Van  Dyck  and  gained  for  him  a similar 
place  in  the  affections  of  the  English  nobility.  His  portraits  are 
imbued  with  a sparkling  vivacity  that  endows  them  with  some- 
thing of  the  vitality  and  animation  of  life  itself. 


INTRODUCTION 


xlvii 


But,  however  brilliant  and  interesting  may  be  the  English 
school  of  portrait  painting,  it  is  the  landscape  painters  who  have 
made  the  only  real  nationalistic  contribution  to  the  art  of  paint- 
ing in  England.  Deriving  much  of  its  force  and  subtlety  of  ob- 
servation from  the  early  Dutch  landscape  painters,  especially 
Elobbema  and  Ruisdael,  English  landscape  painting  eventually 
achieved  its  independence  of  foreign  models,  and  in  Constable 
and  Turner  came  to  exert  its  influence  upon  the  art  of  Europe, 
thus  repaying  the  debt  to  the  early  Dutchmen  and  to  Poussin 
and  Claude  Lorrain,  from  whom  Richard  Wilson  (1713-1782), 
generally  considered  the  father  of  English  landscape  painting, 
derived.  He  represented  the  pseudo-classic  trend  of  the  times 
quite  successfully,  and  his  paintings  are  marked  by  a consider- 
able elevation  of  theme  and  sentiment  highly  reminiscent  of 
Claude.  His  meticulous  sincerity  of  workmanship  and  his 
natural  gift  for  composition  made  him  an  influential  force  in 
moulding  the  trend  of  English  landscape  painting,  powerfully 
affecting  the  direction  of  Turner’s  genius. 

With  the  appearance  of  Old  Crome  (1769-1821)  English 
landscape  painting  developed  its  first  native  school,  since  known 
as  the  Norwich  School,  in  the  vicinity  of  which  Crome  and  his 
followers  painted  the  English  scenery  with  a freshness  and  truth- 
fulness that  set  their  work  apart  from  the  stilted  and  conven- 
tional studio  concoctions  of  their  day.  All  Crome’s  work  is 
characterized  by  an  admirable  directness  and  vigor  of  handling 
directly  traceable  to  his  long  apprenticeship  in  coach  painting, 
than  which  there  is  no  better  training  for  a painter,  as  Whistler 
attested  when  he  said,  “One  should  paint  like  a house-painter,” 
a conclusion  arrived  at  after  his  long  and  intimate  association 
with  the  two  boat  painters,  the  brothers  Greaves.  Traveling 
much  about  England,  Crome  painted  its  hills  and  dales  and  dark 
flat  moorlands  with  a robust  and  manly  vigor  and  a veracity  of 
observation  of  nature’s  phenomena  quite  extraordinary  for  the 
time,  pointing  the  way  to  his  great  successor,  John  Constable 
(1776-1837),  who,  together  with  Turner,  constitutes  the  out- 
standing glory  of  English  landscape  painting. 

An  original  nature,  endowed  with  uncommon  powers  of 
observation,  who  drew  inspiration  from  the  Dutch  at  first, 


xlviii 


INTRODUCTION 


Constable  came  to  personify  in  his  art  all  that  was  essentially 
racial  and  characteristically  British.  Going  directly  to  nature 
for  his  guidance,  he  introduced  the  true  out-of-doors  feeling  in 
his  landscapes,  abolishing  the  conventional  golden-brown  studio 
tonality  affected  by  the  Dutchmen,  and  in  its  stead  we  have  the 
veritable  colors  of  nature,  the  blues  and  greens  and  silvery  grays 
which  he  observed  there.  Broadly  handled,  his  landscapes  are  a 
synthesis  of  the  form  and  color  of  nature,  with  the  breath,  light, 
and  air  of  out-of-doors,  which  had  such  a decisive  effect  in  in- 
fluencing the  direction  of  modern  French  art.  He  was  the  first 
great  realistic  landscape  painter,  the  father  of  the  whole  modern 
school  of  landscape  painters  in  France  and  America  as  well  as 
in  England. 

With  Turner  landscape  painting  in  England  reached  its  apogee. 
This  much-debated  and  greatly  misinterpreted  genius  raised  the 
art  of  landscape  painting  to  a level  with  figure  and  subject 
painting.  An  original  and  ofttimes  daring  colorist,  his  composi- 
tions have  something  of  Homeric  invention  and  poetic  grandeur, 
and  over  his  landscapes  and  marines  there  shines  a light  such  as 
never  was  on  land  or  sea.  His  painting  is  more  the  expression  of 
a cosmic  law,  a natural  phenomenon,  like  the  elements  he  de- 
lighted to  depict,  than  mere  artistic  invention.  It  is  imbued  with 
the  turbulent,  torrential  force  of  nature  itself,  for  the  expression 
of  which  he  was  one  of  the  most  sensitive  instruments  in  the 
whole  range  of  art,  finding  its  counterpart  only  in  Tintoretto, 
Rubens,  Rembrandt,  and  Michelangelo.  Like  these,  he  trans- 
gressed all  laws  and  boundaries  set  by  academies  for  the  pro- 
tection of  mediocrity,  and  he  is  anathema  to  all  those  who 
ploddingly  attempt  to  measure  the  universe  with  their  yard- 
stick. The  greatest  poet  who  has  thus  far  celebrated  on  canvas 
the  awesome  glory  of  the  world,  his  work  broke  down  the  in- 
sular isolation  of  English  art  and  made  it  an  influential  part  of 
Continental  art,  upon  which  he  exerted  the  most  potent  and 
far-reaching  influence,  that  gradually  changed  the  whole  face 
of  modern  European  art.  J.  N.  L. 


CATALOGUE 


PATRONS  fcf  PATRONESSES 
OF  THE  EXHIBITION  OF  PAINTINGS 
BY  OLD  MASTERS 


E.  RAYMOND  ARMSBY  LEON  BOCQUERAZ 

MRS.  ERNEST  COWELL  MRS.  CHARLES  TEMPLETON  CROCKER 
CHARLES  TEMPLETON  CROCKER  WILLIAM  H.  CROCKER 

JOHN  S.  DRUM  SIDNEY  M.  EHRMAN 


EMPORIUM,  THE 

HERBERT  FLEISH HACKER 

JOHN  GALLOIS 

WILLIAM  L.  GERSTLE 

JOSEPH  D.  GRANT 

E.  S.  HELLER 

MRS.  MARCUS  KOSHLAND 

JOHN  LAWSON 

SEWARD  B.  McNEAR 

MRS.  ELEANOR  MARTIN 

WALTER  S.  MARTIN 

HON.  JAMES  D.  PHELAN 

COUNT  CHARLES  DU  PARC  DE  LOCMARIA  MRS.  GEORGE  POPE 


LAURENCE  I.  SCOTT 

C.  S.  STANTON 

RICHARD  M.  TOBIN 

WILLIAM  C.  VAN  ANTWERP 

BARON  J.  C.  VAN  ECK 

PAUL  VERDIER 

JOHN  I.  WALTER 

MRS.  ANDREW  WELCH 

MICHEL  D.  WEILL 

GEORGE  WHITTELL 

GRECO-BYZANTINE:  ST.  JOHN 


No.  I 


CATALOGUE 

Abbreviations:  h.  ( Height );  w.  ( Width );  in.  (Inches). 
“Right”  & “left” , refer  to  right  & left 
of  the  spectator 

% 

The  catalogue  has  been  arranged  by  schools  and  chronologically 
under  each  school.  The  illustrations  have  been  selected  to  ex- 
emplify the  diversity  of  subject-matter  as  well  as  the  various 
schools  comprised  in  the  exhibition.' The  attribution  of  author- 
ship as  given  by  the  owner  of  each  picture  has  been  adhered  to 
herein. 

GRECO-BYZANTINE  [CIRCA  XV 
CENTURY]  See  Introduction 

ST.  JOHN  No.  I 

On  wood  h.  i in.’,  w.  9L4  in. 

Lent  by  The  Bourgeois  Gallery 


DEL  BIONDO  [ACTIVE:  SECOND  HALF 
XIV  CENTURY]  ITALIAN  (FLORENTINE 
SCHOOL) 

Giovanni  del  biondo:  Little  or  nothing  is  known  of  this  very 
interesting  personality,  rediscovered  some  ten  years  ago,  to  whom 
several  works  of  great  interest  and  value  are  now  attributed 
with  a very  considerable  degree  of  certainty.  Among  these  is  the 
large  triptych  of  the  Annunciation  with  several  Saints,  in  the 
Gallery  of  Ancient  and  Modern  Art  at  Prato.  From  recent  re- 
searches it  would  appear  that  he  was  born  in  Val  d’  Arno,  some- 
where about  the  second  quarter  of  the  XIV  Century,  and  that  he 
became  a citizen  of  Siena,  besides  working  in  Florence,  which 
seems  to  have  been  the  scene  of  his  chief  activity.  The  Academia 
of  Florence  as  well  as  the  Gallery  of  Siena  contains  beautiful 
examples  of  his  art.  And  in  the  Church  of  SS.  Maria  and  Lorenzo 
may  still  be  seen  a very  beautiful  fragment  of  a large  altarpiece 


4 


ITALIAN  PAINTING 


which  has  long  been  famous  as  the  special  pride  of  the  country- 
side of  Florence. 

CORONATION  OF  THE  VIRGIN  No.  1 

On  wood  h.  34.42  in.;  w.  25P2  in. 

Lent  by  The  Ehrich  Galleries 


FERRARA  [ACTIVE:  XIV  CENTURY] 
ITALIAN  (SIENESE  SCHOOL) 

Ferrari  ferrara,  an  extremely  gifted  painter  about  whom  little 
or  nothing  has  been  discovered  as  yet  except  that  he  was  actively 
working  in  Siena  about  the  middle  of  the  fourteenth  century. 

CORONATION  OF  THE  VIRGIN  No.  3 

On  wood  h.  io}4  in.;  w.  6 7/g  in. 

Lent  by  The  DeMotte  Galleries 


DA  CAMERINO  [ACTIVE:  XV  CENTURY] 
ITALIAN  SCHOOL 

girolamo  di  giovanni  da  camerino:  Generally  supposed  to  be 
the  son  of  Giovanni  Boccati  and  identified  as  the  painter  of  an 
altarpiece  at  Santa  Maria  del  Pozzo  in  Monte  San  Martino  near 
Fermo  that  is  signed  and  dated  1473.  It  represents  the  Madonna 
and  Child  and  Four  Angels  between  SS.  Thomas  and  Cyprian. 

PI  ETA  No.  4 

On  wood  h.  26  in.;  w.  18  in. 

Lent  by  The  Ehrich  Galleries 


LAMBERTINI  [ACTIVE:  MIDDLE  XV 
CENTURY] ITALIAN (BOLOGNESE 
SCHOOL) 

michele  di  matteo  lambertini  is  known  to  have  been  actively 
at  work  in  Bologna  between  1445  and  1470,  during  which  time  he 
painted  various  altarpieces  and  other  decorations  for  churches  in 
Siena  as  well  as  in  Bologna,  where  his  Pieta , dated  1462,  and  his 


ITALIAN  PAINTING  5 

Virgin  and  Child , dated  1469,  are  now  in  the  Academy.  The  dates 
of  his  birth  and  death  are  unknown. 

ST.  JOHN  THE  BAPTIST  AND 

ST.  JOHN  THE  APOSTLE  No.  5 

On  wood  h.  52%  in.;  w.  33^2  in. 

Lent  by  The  DeMotte  Galleries 


MANTEGNA  [SCHOOL  OF:  1431-1506] 
ITALIAN  (PADUAN  SCHOOL) 

mantegna’s  striking  qualities,  his  extraordinary  power  as  a 
draughtsman  and  designer,  his  devotion  to  Roman  art,  his  deep 
pagan  spirit,  and  the  humanistic  tendencies  combined  with  his 
profound  intimacy  with  the  mystic  significance  of  Christianity 
made  his  influence  irresistible,  not  only  in  Padua  and  Mantua, 
but  in  Venice,  and  a number  of  fine  works,  such  as  the  one  ex- 
hibited here,  are  among  the  rich  heritage  of  this  influence. 

CHRIST  ON  THE  CROSS  No.  6 

On  canvas  h.  34  in.;  w.  18  in. 

Lent  by  The  Durand-Ruel  Galleries 

LUINI  [1475 ?-i53i-32]  ITALIAN 
(MILANESE  SCHOOL) 

Bernardino  luini:  Born  at  Luino  near  the  Lago  Maggiore  about 
1475;  supposedly,  he  was  a pupil  of  Borgognone,  and  later  influ- 
enced by  Bramantino,  Gandinzio  Ferrari  and  Leonardo  in  Milan. 
So  much  did  he  fall  under  the  influence  of  the  latter,  that  not  a 
few  of  his  paintings  have  been  attributed  to  Leonardo,  whose 
peculiarly  personal  color  and  composition  he  so  thoroughly 
assimilated  and  made  his  own  that  it  requires  the  most  intimate 
acquaintance  with  the  works  of  both  to  discriminate  between 
them.  His  early  works  bear  no  trace  of  Leonardo’s  style.  He 
achieved  his  most  personal  expression  in  his  frescoes.  He  died 
in  Milan  in  1531  -32. 


6 


ITALIAN  PAINTING 


ST.  CATHERINE  No.  7 

On  wood  h.  2474  in. ; w.  14^  in. 

Lent  by  The  Kleinberger  Galleries 

DOS  SI  [1479-1541  ] ITALIAN  (SCHOOL  OF 
FERRARA) 

Giovanni,  commonly  called  Dosso  Dossi  and  sometimes  Giovanni 
di  Nicolo  di  Lutero:  Born  about  1479,  in  vicinity  of  Ferrara; 
pupil  of  Lorenzo  Costa;  visited  Rome  and  later  Venice,  where  he 
spent  five  years  studying  the  Venetian  masters,  especially  Gior- 
gione and  Titian;  visited  Mantua  in  1511-12,  where  he  exerted  a 
strong  influence  on  the  young  Correggio;  excelled  in  portraits  as 
well  as  in  historical,  biblical  and  mythological  subjects,  and  made 
cartoons  for  the  tapestries  in  the  Cathedral  at  Ferrara,  where  he 
died  in  1541. 

A WARRIOR  No.  8 

On  canvas  h.  29F2  in.;  w.  23^  in. 

Collection  of:  The  Marchese  Malaspina  di  Riggio  Emilia.  Reproduced  in  “Ras- 
segna  d’Arte,”  June,  1915,  page  124,  with  article  by  F.  Mason  Perkins. 

Lent  by  The  Ehrich  Galleries 


LOTTO  [1480-1556]  ITALIAN  (VENETIAN 
SCHOOL) 

lorenzo  di  tommaso  lotto:  Born  1480  at  Venice;  pupil  of  Alvise 
Vivarini,  whose  influence  is  plainly  discernible  in  his  earlier 
works;  later  he  fell  under  the  influence  of  Giovanni  Bellini,  even- 
tually developing  one  of  the  most  personal  styles  of  all  the  Vene- 
tian painters;  visited  Rome,  painting  in  the  Vatican  with 
Raphael  and  later  fell  under  the  spell  of  Titian;  died  in  Loreto 
in  1556. 

PORTRAIT  OF  A GENTLEMAN  No.  9 

On  canvas  h.  28^2  in.;  w.  26  in. 

Collection  of:  The  Duke  of  Devonshire  and  of  Count  Goloubew,  Paris.  Listed  in: 
Waagen’s  “Art  Treasures”  (Treasures  of  Art  in  Great  Britain),  London,  1854 


SCHOOL  OF  MANTEGNA:  CHRIST  ON  No.  6 


THE  CROSS 


ITALIAN  PAINTING  7 

Vol.  Ill,  page  345;  also  in  Algernon  Grave’s  “Summary  of  Waagen,”  London, 
1912,  page  112. 

Lent  by  The  Ehrich  Galleries 

PENNI  [ 1488?- 1528  ] ITALIAN  (FLORENTINE 
SCHOOL) 

Giovanni  Francesco  penni,  called  il  Fattore,  was  a Florentine 
painter:  Born  about  1488;  went  to  Rome  when  very  young  and 
was  received  into  the  School  of  Raphael,  becoming  his  favorite 
disciple,  being  employed  by  him  in  many  of  his  most  important 
commissions,  particularly  in  the  work  Raphael  did  for  Leo  X in 
the  loggia  of  the  Vatican;  he  collaborated  with  Giulio  Romano 
in  the  execution  of  the  History  of  Cupid  and  Psyche  in  the  Farne- 
sina  and  later  with  Perino  del  Vaga,  his  brother-in-law.  He  died 
in  1528. 

PORTRAIT  OF  A YOUNG  LADY  No.  IO 

On  canvas  h.  267^  /».;  w.  'lofi  in. 

Exhibited  in  the  Italian  Loan  Exhibition  in  New  York,  November,  1917,  No.  83. 
Authenticated  by  Bernhard  Berenson,  who  believes  that  it  was  painted  by  Penni 
about  1525.  He  considers  it  one  of  the  finest  examples  of  the  Roman  School  of 
portraiture,  composed  along  the  line  of  the  Roman  formula,  as  created  by  the 
combined  efforts  of  Raphael  and  Sebastiano  del  Piombo.  He  regards  it  as  one  of 
the  most  characteristic  works  of  Penni,  who,  together  with  Giulio  Romano,  was 
the  best  known  of  Raphael’s  pupils  and  assistants,  and  in  reality  were  the  true 
authors  of  nearly  all  of  that  famous  painter’s  last  works.  This  portrait  is  there- 
fore of  more  than  ordinary  interest  as  reflecting  those  qualities  that  gave  Raphael 
his  position  of  pre-eminence  in  Italian  art. 

Lent  by  The  Kleinberger  Galleries 

MORETTO  [ 1498?- 1555? ] ITALIAN  (SCHOOL 
OF  BRESCIA) 

alessandro  bonvicino,  called  Moretto  Da  Brescia:  Born  at 
Brescia  about  1498;  pupil  and  assistant  to  Ferramola  and  later 
influenced  by  Savoldo,  Romanino,  Titian  and  Raphael.  At  his 
best,  Moretto  is  accounted  the  greatest  provincial  painter  in 
northern  Italy  of  his  time;  he  produced  both  religious  paintings 
and  portraits  as  well  as  allegorical  compositions.  Certain  of  his 


ITALIAN  PAINTING 


paintings  were  for  a long  time  attributed  to  Raphael;  Moroni, 
the  great  portrait  painter,  was  his  pupil. 

ALLEGORY  OF  THE  SOUL  No.  II 

On  stone  h.  15  in.;  w.  i2>^  in. 

The  trio  is  painted  upon  a peculiar  black  marble  and  represents  the  attributes  of 
the  soul,  the  trinity  of  Mind,  Wili.  and  Memory.  On  the  right,  Will  is  shown 
holding  the  sceptre  of  omnipotence,  crowned  with  gold,  her  wings  showing  her 
heavenly  origin,  and  her  facile,  mobile,  impelling  power;  on  the  hem  of  her  robe 
is  inscribed  Volunta.  The  central  figure,  a nobly  proportioned  athlete,  repre- 
sents Mind,  showing  the  strength  of  the  mental  structure  with  great  ability  to 
comprehend  and  command,  and  with  his  face  turned  toward  Will  as  ever  ready 
to  do  those  things  to  which  she  shall  incline  him,  while  an  undying  flame,  leaping 
from  his  head,  shows  the  ardor  and  activity  of  the  mental  faculties.  On  the  hem 
of  his  robe  is  inscribed  Intellectus.  On  the  right.  Memory  holds  the  mirror 
of  Truth  in  which  she  may  see  events  and  the  Book  of  History  in  which  they  are 
recorded  and  on  the  side  of  which  is  inscribed  Memoria.  The  passive  character 
of  Memory  is  indicated  by  her  back  being  slightly  turned  to  the  others,  whose 
domain  is  action.  The  group  was  executed  as  a pendant  to  his  Faith , Hope  and 
Charity,  which  is  still  in  the  possession  of  the  noble  house  ofLecchiin  Brescia. 
“The  Allegory  of  the  Soul,  during  one  of  the  Italian  wars,  found  its  way  to  Florence, 
where  it  has  been  until  recently  the  property  of  the  Princess  Bourbon  del  Monte, 
having  changed  ownership  but  three  times  in  three  centuries  and  a half. 

Lent  Anonymously 


BRONZINO  [ 1502?  - 1572  ] ITALIAN 
(FLORENTINE  SCHOOL) 

angelo  allori,  called  Angelo  di  Cosimo  di  Mariano,  generally 
known  as  Bronzino:  Born  at  Monticelli;  pupil  of  Jacopo  da  Pon- 
tormo, whose  unfinished  works  Bronzino  completed;  executed 
several  murals  in  fresco  and  in  oil  for  public  buildings  of  Flor- 
ence, but  he  is  chiefly  known  as  a portrait  painter  identified  with 
the  Medici  family,  many  portraits  of  which  are  still  preserved  in 
Florence.  He  was  an  admirer  of  Michelangelo  and  an  intimate  of 
Vasari,  and  was  a poet  as  well  as  a painter;  died  at  Florence, 
November  23,  1572. 

PORTRAIT  OF  COSIMO  I.  DE  MEDICI  No.  12 

On  wood  h.  33  in.;  w.  26%  in. 

“The  Lord  Duke,  having  seen  from  these  and  other  works  the  excellence  of  this 
painter,  and  that  it  was  his  particular  and  peculiar  field  to  portray  from  life  with 
the  greatest  diligence  that  could  be  imagined,  caused  him  to  paint  a portrait  of 
himself,  at  that  time  a young  man,  fully  clad  in  bright  armour,  and  with  one 


LOTTO:  PORTRAIT  OF  A GENTLEMAN 


No.  9 


PENNI:  PORTRAIT  OF  A YOUNG  LADY 


No.  IO 


ITALIAN  PAINTING 


9 


hand  upon  his  helmet.  ...”  Vasari.  Cosimo  I,  Duke  of  Florence,  son  of  Gio- 
vanni de  Medici,  called  Giovanni  delle  Bande  Nere,  and  the  gentle  Maria  Sal- 
viati,  was  born  in  Florence  June  n,  1519,  and  became  Duke  of  Florence  on  the 
death  of  Alessandro  in  1 537.  Two  years  later,  he  married  Eleonora,  the  only  child 
of  Don  Pedro  di  Toledo,  Marquis  of  Villafranca  and  Viceroy  of  Naples,  whose 
wealth  and  influence  helped  to  make  his  position  on  the  throne  secure.  Cosimo 
was  created  Grand  Duke  of  Tuscany  in  1569.  After  Eleonora’s  death,  which  took 
place  in  1562,  his  temper  became  more  violent  and  he  gradually  neglected  the 
government  of  his  country;  eventually,  in  1571,  he  married  a woman  of  low 
station,  Camilla  Martelli,  and  lived  in  retirement  in  the  villa  of  Castello,  where 
he  died  April  21,  1574,  and  was  buried  with  much  pomp  in  San  Lorenzo,  Flor- 
ence. He  had  eight  children  by  his  first  wife,  four  of  whom  died  before  him. 
Cosimo  was  a tyrant  in  every  sense  of  the  word,  yet  he  ruled  in  such  a manner 
that,  under  him,  Tuscany,  from  a small,  impoverished  state,  became  the  most 
important  in  Italy,  rich,  flourishing  and  independent;  he  also  founded  the 
Academy  of  Florence,  reopened  the  universities  of  Pisa  and  Siena,  and  formed 
the  gallery  of  the  Pitti  Palace.  Collections:  Charles  Sedelmeyer,  Paris,  (repro- 
duced in  his  “Old  Masters”  Catalogue,  1900,  No.  54,  and  in  his  sale,  1907, 
No.  98);  Marczell  de  Nemes,  Budapest. 

Lent  by  The  Knoedler  Galleries 


CAMPI  [ 1500? - 1572 ] ITALIAN  (SCHOOL  OF 
CREMONA) 

giulio  campi,  elder  son  of  Galeazzo  Campi:  Born  at  Cremona  in 
1500;  in  1522  he  was  studying  under  Giulio  Romano  at  Mantua 
as  an  architect  and  modeler;  his  earliest  known  work  is  the  High 
Altar  in  the  Church  of  St.  Abbondio  at  Cremona,  painted  in  1527, 
and  his  last  work  was  the  decoration  of  the  Virgin’s  Chapel  in 
Sta.  Maria  di  Campagna,  Piacenza,  which  remained  unfinished 
at  his  death  in  1572.  He  enjoyed  a reputation  as  an  architect  as 
well  as  a painter,  being  consulted  in  the  restoration  of  Sta.  Mar- 
gherita  in  Cremona,  for  which  he  painted  a series  of  frescoes  in 
1547.  Strongly  influenced  by  the  Venetians,  he  developed  a man- 
ner quite  personal  to  himself. 

PORTRAIT  OF  A PHILOSOPHER  No.  13 

On  canvas  h.  32  Yi  in .;  w.  28)4  in. 

Collection  of:  Sir  Edward  Page  Turner,  Bt.,  of  Battlesden  House,  Preston  Park, 
Brighton,  England. 

Lent  by  The  Ehrieh  Galleries 


IO 


ITALIAN  PAINTING 


MARCONI  [FLOURISHED:  LATE  XVI 
AND  EARLY  XVII  CENTURY]  ITALIAN 
(VENETIAN  SCHOOL) 

rocco  marconi:  A native  of  Treviso;  pupil  of  Giovanni  Bellini. 
His  chief  performances  are  in  the  Academia  at  Venice;  his  pic- 
ture in  the  Church  of  San  Niccolo,  considered  one  of  his  earliest 
works,  is  dated  1605;  he  was  an  engraver  as  well  as  a painter. 

PORTRAIT  OF  A VENETIAN  NOBLEMAN  No.  I4 

On  wood  h.  1 3%  in.;  w.  ioJ4  In. 

Exhibited:  National  Gallery,  London,  for  about  two  years.  Royal  Academy, 
1875,  No.  186,  by  William  Graham,  as  a “Portrait  of  a Young  Man,”  by  Gio- 
vanni Bellini.  “Venetian  Art  Exhibition,”  New  Gallery,  London,  1895,  No.  149, 
by  J.  P.  Carrington.  Reproduced:  “Study  and  Criticism  of  Italian  Art”  by 
Bernhard  Berenson,  London,  1912,  Vol.  I,  facing  p.  126;  and  mentioned  there 
on  p.  126  as  follows:  “.  . . The  same  colouring  and  the  same  style  of  landscape 
reappear  in  one  of  the  most  delightful  portraits  of  the  Venetian  School  (No.  149, 
belonging  to  Mr.  J.  P.  Carrington) — the  bust  of  an  alert,  self-possessed,  sym- 
pathetic, youngish  man,  with  bushy  brown  hair,  wearing  a black  cap  and  a 
black  coat  slashed  with  white — in  conception  not  unworthy  of  Bellini  himself, 
although  widely  different  from  him.”  Reproduced  as  a frontispiece  in  “The 
Lotus  Magazine,”  New  York,  February,  1918.  Mentioned:  “Venetian  Painters 
of  the  Renaissance,”  by  Bernhard  Berenson,  London,  1909,  p.  127.  Collections: 
Wm.  Graham  (sold  1886,  No.  449,  as  a Bellini);  J.  P.  Carrington. 

Lent  by  The  Knoedler  Galleries 

LOSPAGNA  [ACTIVE:  XVI  CENTURY] 
ITALIAN  (SCHOOL  OF  PERUGIO) 

Giovanni  di  pietro,  called  from  his  nationality  Lo  Spagna  or 
Giovanni  Spagnuolo,  also  Juan  de  Espana  and  Juan  El  Espanol. 
Our  first  definite  knowledge  of  this  painter  would  appear  to  date 
from  about  1 507,  when  he  made  his  first  appearance  at  Podi  as  an 
independent  master;  his  instructors  are  thought  to  have  been 
Perugino  and  Pinturicchio  and  he  is  known  to  have  been  the 
companion  of  Raphael  at  Perugio.  He  died  at  Spoleto  between 
1528  and  1530. 

ST.  JEROME  No.  15 

On  wood  h.  14J6  in.;  w.  10J 4 In- 
Lent  by  The  Ehrich  Galleries 


BRONZINO:  PORTRAIT  OF  COSIMO  I 


DE  MEDICI 


No  12 


MARCONI:  PORTRAIT  OF  A VENETIAN  NOBLEMAN 


No.  1 4 


ITALIAN  PAINTING 


I I 


TINTORETTO  [1518-1594]  ITALIAN 
(VENETIAN  SCHOOL) 

jacopo,  called  il  Tintoretto,  “The  Little  Dyer,”  on  account  of 
his  father’s  trade:  Born  in  Venice  in  September,  1518;  appren- 
ticed to  Titian,  but  for  some  unknown  reason  summarily  dis- 
missed; he  is  supposed  to  have  worked  under  Bonifazio  and  is 
known  to  have  been  influenced  in  his  early  studies  by  the  work 
of  Titian,  Palma,  Michelangelo  and  Parmigianino;  he  was  the 
culminating  genius  of  the  Venetian  School,  combining  in  himself 
the  several  excellencies  of  his  contemporaries;  he  died  in  Venice 
on  May  31,  1594.  , 

PORTRAIT  OF  A YOUNG  MAN  No.  l6 

On  canvas  h.  25  in.;  w.  21  in. 

From  the  collection  of  Baron  Schacky,  Munich.  Exhibited  in  the  Italian  Loan 
Exhibition,  New  York,  November,  1917,  No.  100. 

Lent  by  The  Kleinberger  Galleries 

PORTRAIT  OF  FRANCESCO  MOROSINI  No.  17 

On  canvas  h.  46^  in.;  w.  37^  in. 

The  picture  comes  from  the  Morosini  collection  at  Mestre,  Venice.  (A  Portrait 
of  Battista  Morosini  by  Tintoretto  is  in  the  Venice  Academy.) 

Lent  by  The  Knoedler  Galleries 

VERONESE  [1528-1588]  ITALIAN 
(VENETIAN  SCHOOL) 

paolo  caliari,  called  Veronese,  was  born  in  Verona;  first  studied 
under  Badile  and  Brusacorci  in  Verona;  went  to  Venice  in  1555 
and  immediately  was  given  several  important  commissions  which 
gained  him  the  recognition  of  Titian  and  Sansovino,  Director  of 
Buildings  to  the  Signoria,  and  thenceforth  his  success  was  as- 
sured; in  1573  he  completed  his  Feast  in  the  House  of  Levi,  which, 
because  of  his  introduction  of  German  soldiery,  buffoons,  parrots 
and  other  mundane  creatures,  resulted  in  his  trial  before  the 
Inquisition,  which  compelled  him  to  delete  the  most  obnoxious 
figures.  This  trial  in  no  way  affected  his  reputation,  however, 
and  princes  and  nobles  continued  to  compete  for  his  works,  nor 


ITALIAN  PAINTING 


I 1 

did  he  cease  decorating  churches  and  monasteries  in  and  about 
Venice,  where  he  died  in  1588. 

PORTRAIT  OF  COUNT  PORTI  No.  l8 

On  canvas  h.  43^  in.;  w.  39}^  in. 

This  portrait  formed  part  of  the  series  of  decorations  executed  by  Paolo  Veronese 
in  the  Villa  of  Tiene,  near  Schio  (Vincentiaro);  and  was  still  in  its  original  stucco 
frame  when  acquired.  Vasari,  in  the  second  edition  of  “The  Lives  of  the  Pain- 
ters” (1568,  Vol.  Ill,  p.  525),  briefly  alludes  to  this  work  in  a passage  where  he 
relates  that  Battista  da  Verona  “ painted  in  company  with  Paolino,  a hall  in 
the  Palace  of  the  Paymaster  and  Assessor  Portesco  at  Tiene  in  the  territory  of 
Vicenza;  where  they  executed  a vast  number  of  figures,  which  acquired  credit 
and  repute  for  both  the  one  and  the  other.”  As  Veronese  was  born  about  1 528, 
these  decorations  must  have  been  painted  before  he  was  forty,  and  were  there- 
fore of  his  early  period. 

Lent  by  The  Knoedler  Galleries 


GIANPEDRINO  [FLOURISHED:  XVI 
CENTURY]  ITALIAN  (MILANESE  SCHOOL) 
Giovanni  pedrini,  called  Gianpedrino  or  Giampietrino,  whose 
real  name  was  Giovanni  Pietro  Ricci.  He  was  a follower  of  Leo- 
nardo da  Vinci,  whose  style  he  emulated  and  sometimes  exagger- 
ated. He  is  thought  to  have  studied  with  Leonardo  about  1508 
and  is  supposed  to  have  lived  in  Milan  between  1510  and  1530 
and  for  a short  time  in  Pavia  about  1521.  Paintings  definitely 
identified  with  his  name  are  not  numerous  and  the  facts  of  his 
life  and  death  remain  clouded  in  obscurity. 

PORTRAIT  OF  A YOUNG  LADY  No.  19 

On  wood  h.  24  in.;  w.  20  in. 

Lent  by  The  Ehrich  Galleries 


PALMA  [1544-1628]  ITALIAN  (VENETIAN 
SCHOOL) 

jacopo  palma,  called  il  Giovine:  Born  in  Venice,  1544;  pupil  of 
his  father,  Antonio,  and  strongly  influenced  by  the  works  of 
Polydoro  Caravaggio;  some  of  his  best  pictures  are  in  the  Palace 
of  the  Doge  in  the  Academia,  Venice,  and  he  is  represented  by 
notable  works  in  various  Venetian  churches. 


ITALIAN  PAINTING 


13 

No.  20 


TOBIAS  AND  THE  ANGEL 
On  canvas  h.  52^  in.;  w.  71  in. 
Lent  by  The  Ehrich  Galleries 


M AZZUOLA  [ACTIVE:  MIDDLE  XVI 
CENTURY]  ITALIAN  (SCHOOL  OF  PARMA) 
Girolamo  mazzuola,  whose  real  name  was  Bedolo,  adopted  his 
father-in-law’s  name,  Pietro  Ilario  Mazzuoli:  Born  at  San  Laz- 
zaro near  Parma;  pupil  of  his  cousin,  Parmigiano,  whose  style  he 
imitated. 

PORTRAIT  OF  OTTAYIANO  FARNESE, 

SECOND  DUKE  OF  PARMA  No.  21 

On  canvas  h.  52  in.;  w.  41  Yi  in. 

Inscribed  on  the  left  a nor.  xxii. 

Collections  of:  Duke  de  Cardinale,  Naples;  Prince  del  Drago,  Rome.  Exhibited 
in  the  Italian  Loan  Exhibition,  New  York,  November,  1917,  No.  98. 

Lent  by  The  Kleinberger  Galleries 


ITALIAN  SCHOOL  [XVI  CENTURY] 

See  Introduction 

HEAD  OF  CHRIST  No.  22 

On  wood  h.  in.;  w.  6%  in. 

Lent  by  The  DeM otte  Galleries 

ITALIAN  SCHOOL  [XVI  CENTURY] 

See  Introduction 

MADONNA,  CHILD,  AND  SAINTS  No.  2J 

On  wood  h.  43  in.;  w.  27  in. 

Inscription  on  the  frame  ave  maria  gratia  plena. 

Lent  by  The  Ehrich  Galleries 


14 


ITALIAN  PAINTING 


TIEPOLO  [1696-1770]  ITALIAN  (VENETIAN 
SCHOOL) 

Giovanni  battista  tiepolo:  Born  at  Venice,  1696;  influenced  by 
Piazzetta  and  Veronese;  married  to  Guardi’s  sister;  an  extremely 
prolific  and  fluent  painter,  the  last  of  the  great  Venetians;  elected 
first  Director  of  the  Venice  Academy  in  1755;  visited  Madrid  in 
1762,  where  he  remained  until  the  year  of  his  death,  1770,  loaded 
with  honors  and  commissions. 

THE  VIRGIN  AND  CHILD  WITH  SAINTS  No.  24 

On  canvas  h.  17%  in.;  w.  11M  in. 

Collection  of:  Arthur  Sachs,  Esq.,  New  York. 

Lent  by  The  Kleinberger  Galleries 


CANALETTO  [1697-1768]  ITALIAN  (VENETIAN 
SCHOOL) 

giovanni  antonio  da  canale,  called  Canaletto  or  il  Tonino:  Born 
in  Venice,  October  18,  1697,  where  he  died  April  20, 1768.  He  was 
the  pupil  of  his  father,  Bernardo  da  Canale,  a decorator  and  scene 
painter,  with  whom  he  worked  until  about  1719,  when  he  aban- 
doned the  theatre  for  easel  painting.  He  became  famous  during 
his  day  for  his  paintings  of  views  of  Venice,  its  canals,  and  piazzas, 
and  his  work  has  remained  popular  ever  since.  The  figures  in  his 
paintings  are  almost  all  painted  by  Giovanni  Battista  Tiepolo. 
He  was  an  etcher  as  well  as  a painter,  and  etched  some  thirty-odd 
plates  of  views  of  Venice. 

PIAZZETTA  No.  25 

On  canvas  h.  2$lA  in-',  w.  37 lA  in. 

Lent  by  The  Ehrich  Galleries 

CANAL  IN  VENICE  No.  2 6 

On  canvas  h.  in.;  w.  2 3%  in. 

Lent  Anonymously 

CANAL  IN  VENICE 
On  canvas  h.  14)4  in.;  w.  23%  in. 

Lent  Anonymously 


No.  27 


No.  17 


TINTORETTO:  PORTRAIT  OF  FRANCESCO  MOROSINI 


VERONESE:  PORTRAIT  OF  COUNT  PORTI 


No.  I 8 


FLEMISH  PAINTING 


15 


WEYDEN  [SCHOOL  OF:  CIRCA  1400-1464] 
FLEMISH  SCHOOL 

rogier  de  la  pasture,  or  Roger  van  der  Weyden:  Born  at 
Tournai  between  1397  and  1400;  son  of  a sculptor  in  whose  art 
he  was  trained;  apprenticed  later  to  Robert  Campin  (Le  Maitre 
de  Flemalle)  he  painted  a wide  range  of  biblical  subjects  and 
portraits,  all  of  which  are  imbued  with  an  inner  intensity  of  feel- 
ing expressed  with  great  force  and  delicacy  that  had  a wide  in- 
fluence on  Netherlandish  and  German  art.  Roger  van  der  Weyden 
died  at  Brussels  1464,  leaving  several  pupils  and  followers,  one  of 
whom  probably  painted  the  picture  shown  here. 

PIETa  No.  28 

On  wood  h.  5%  in .;  w.  4)4  in. 

Lent  by  The  DeMotte  Galleries 

MASSYS  [SCHOOL  OF:  1466.- 1530]  FLEMISH 
(SCHOOL  OF  ANTWERP) 

quinten  massys,  or  Quintin  Matsys  or  Metsys,  is  supposed  to 
have  been  born  at  Louvain  about  1466.  This  very  personal  artist 
may  be  regarded  as  a connecting  link  between  Roger  van  der 
Weyden  and  Hugo  van  der  Goes  on  the  one  hand  and  Rubens  on 
the  other,  while  still  remaining  essentially  a primitive  at  heart; 
his  varied  and  complex  personality,  which  found  expression  in 
characterful  portraiture,  humorous  and  typical  genre  pieces  of 
daily  peasant  life,  as  well  as  religious  compositions  of  an  exalted 
nature,  had  considerable  influence  on  several  of  his  contempora- 
ries, one  of  whom  undoubtedly  is  responsible  for  the  picture 
shown  here. 

THE  CRUCIFIXION  No.  29 

On  wood  h.  27  J4  i«.;  w.  18%  in. 

Lent  by  The  DeMotte  Galleries 

MABUSE  [ 1472?-  1535?]  FLEMISH  SCHOOL 
(MAUBEUGE) 

jan  gossart,  or  gossaert,  generally  called  Jan  van  Mabuse  or 


FLEMISH  PAINTING 


I 6 

Malboge,  or  Malbodius,  as  he  sometimes  signed  himself,  or  De 
Mabeuzd,  from  his  native  town  of  Maubeuge,  where  he  was  born 
about  1472,  son  of  Simon  the  bookbinder,  who  worked  for  the 
Abbe  of  Sainte-Aldegonde.  It  is  thought  probable  that  through 
this  channel  he  might  have  had  opportunities  to  study  the  illumi- 
nations on  the  early  missals.  We  have  no  certain  knowledge  of 
who  was  his  master,  though  Memlinc,  David,  and  Massys  have 
all  been  suggested  as  his  possible  teachers.  At  all  events,  he  was 
admitted  as  an  independent  master  to  the  Guild  of  St.  Luke  at 
Antwerp  in  1 503,  and  we  find  him  entered  in  the  register  under  the 
name  Jennyn  van  Henegouws  (John  of  Hainault).  His  early  pic- 
tures are  signed  Jennyn  Gossart,  but  later  he  adopted  the  Latin 
form:  loannes  Malbodius  (John  of  Maubeuge).  Once  in  the 
register  of  the  Guild  of  Our  Lady  at  Middleburg,  he  is  entered  as 
Jan  de  Wael  (John  the  Walloon).  He  was  “one  of  the  first  to  bring 
back  from  Italy  the  true  manner  of  arranging  and  composing 
‘histories,’  full  of  nude  figures  and  of  all  manner  of  poetry,  which 
was  not  practiced  in  our  lands  before  his  time,”  says  a contem- 
porary writer.  Besides  painting  various  notable  religious  com- 
positions he  painted  many  portraits  of  important  personages, 
such  as  King  Christian  II  of  Denmark  and  His  Bride.  He  died  in 
August  of  1533. 

PORTRAIT  OF  A YOUNG  WOMAN  No.  30 

On  wood  h.  igl/i  in.\  w.  15%  in. 

Lent  by  The  Kleinberger  Galleries 


ORLEY  [1479?- 1542]  FLEMISH  (SCHOOL 
OF  BRUSSELS) 

Bernard,  barent,  or  bernaert  van  orley:  Born,  probably,  in 
Brussels  about  1479.  He  was  of  a patrician  family;  and  according 
to  tradition,  he  visited  Rome  in  1509  and  met  Raphael;  his 
earliest  works  reflect  the  influence  of  Gerard  David,  Massys,  and 
Mabuse.  He  was  a friend  of  Diirer,  who  visited  him  in  Brussels 
in  1520  and  painted  his  portrait.  One  finds  in  his  works  various 
reminiscences  of  Italian  art  and  marked  traces  of  Raphael  influ- 
ences. He  was  Court  Painter  to  two  Regents  of  the  Netherlands. 


GIANPEDRINO:  PORTRAIT  OF  A YOUNG  LADY 


No.  19 


SCHOOL  OF  MASSYS:  THE  CRUCIFIXION 


No.  29 


FLEMISH  PAINTING 


17 

No.  31 


VIRGIN  AND  CHILD 
On  wood  h.  24  in.;  w.  19J4  in. 

Lent  by  The  DeMotte  Galleries 

DE  BLES  [ 1480?-  1521  - 50? ] FLEMISH  SCHOOL 
hendrik,  commonly  called  Herri  or  Henri  Met  de  Bles  (signify- 
ing, “with  the  forelock”)  and  by  the  Italians  nicknamed  Civetta 
because,  instead  of  signing  his  works,  he  usually  painted  an  owl 
in  one  of  the  corners:  Born  at  Boubignes  near  Dinant  about  1480. 
He  emulated  the  style  of  Joachim  Patenier.  His  pictures  have  a 
curious  commingling  of  childlike  naivete  and  sophistication 
which  gives  a singular  charm  to  his  works.  He  died  at  Liege  be- 
tween 1521  and  1550. 

triptych:  three  scenes  in  the  life 
OF  THE  VIRGIN  No.  32 

Center  panel:  Adoration  of  the  Magi 
Left  shutter:  The  Nativity 
Right  shutter:  The  Flight  into  Egypt 

On  wood:  Center  Panel  h.  41  in.;  w.  28  % in.  Left  Panel  h.  41  J4 
in.;  w.  \iz/i  in.  Right  Panel h.  41  H in.;  w.  12%  in. 

Collection  of:  J.  Dominquez  Fern.  Patto,  of  Paris. 

Lent  by  The  Ehrich  Galleries 

BRUGES,  SCHOOL  OF.  See  Introduction 

CORONATION  OF  THE  VIRGIN  No.  33 

On  wood , oval  h.  9)4  in.;  w.  'jfi  in. 

Lent  by  The  DeMotte  Galleries 


BLONDEEL  [1495-1560]  FLEMISH  SCHOOL 
(BRUGES) 

Lancelot  or  lansloot  blondeel:  Born  at  Bruges  about  1495 
and  died  there  in  1560.  He  was  originally  a mason,  and  not  until 
his  twenty-fifth  year  did  he  turn  his  attention  to  painting.  In  its 


FLEMISH  PAINTING 


general  style  as  well  as  color  his  art  betrays  a strong  Italian  in- 
fluence. He  designed  the  chimneypiece  in  the  Council  Hall  at 
Bruges,  which  contains  statues  of  Charles  V and  other  monarchs. 

MATER  DOLOROSA  No.  34 

On  wood  h.  2034  in.;  w.  20  in. 

Illustrated  with  article  by  Pierre  Bautier,  the  author  of  the  book  on  Blondeel, 
appearing  in  Bulletin,  “ Des  Musees  Royaux,”  July,  1911. 

Lent  by  The  Ehrich  Galleries 


VAN  HEMESSEN  [ 1504? - 1555? ] FLEMISH 
SCHOOL 

jan  sanders,  called  Jan  van  Hemessen  or  Heemsen  or  van 
Hemissen,  after  his  native  village  Hemixen,  near  Antwerp,  where 
he  was  born  about  1504;  pupil  of  Hendrik  van  Cleef,  the  Elder; 
about  1535-37  establishing  himself  at  Antwerp;  became  Dean  of 
the  Guild  of  St.  Luke  in  1547-48;  toward  the  close  of  his  career 
he  migrated  to  Holland,  where  he  settled  and  died  about  1555-60. 

PORTRAIT  OF 

SIGNEUR  VAN  PEEMAN  OF  CASSEL  No.  35 

On  wood  h.  25  in.;  w.  19M  in. 

The  following  is  a translation  of  the  inscription  on  the  frame:  “In  order  to  live 
in  this  house  in  Peace  and  goodfellowship  as  in  an  impregnable  castle,  treat  your 
brothers  in  accordance  thereto,  for  truly  God  is  there  where  Peace  reigns.” 

Lent  by  The  Ehrich  Galleries 

ST.  JEROME  No.  36 

On  wood  h.  26  in.;  w.  19M  in. 

Bated:  1530 

Lent  by  The  DeMotte  Galleries 


TENIERS  [1610-1690]  FLEMISH  SCHOOL 
david  teniers,  the  younger;  also  signed  himself  Tenier  in  cer- 
tain early  works.  Painter  and  etcher.  Baptized  at  Antwerp 
December  15,  1610;  pupil  of  his  father,  David  Teniers,  the  Elder; 
later  came  under  the  influence  of  Rubens  and  Adriaen  Brouwer. 
Court  Painter  to  Archduke  Leopold  William  and  the  recipient  of 


MABUSE:  PORTRAIT  OF  A YOUNG  WOMAN 


No.  30 


van  orley:  virgin  and  child 


No.  31 


FLEMISH  PAINTING  I9 

royal  favors  bestowed  by  other  European  sovereigns.  He  died  at 
Brussels,  April  25,  1690,  and  was  buried  at  Perck. 

WIFE  OF  THE  ARTIST  IN 

THE  GARDEN  OF  THEIR  HOME  No.  37 

On  canvas  h.  63  in.;  w.  63  in. 

Collection  of:  M.  Saindelette,  Minister  in  the  Belgian  Cabinet  of  Frere-Orban; 
and  Micaise  Collection. 

Lent  by  The  Ehrich  Galleries 

BENSON  [ACTIVE:  1519? - j 550 ] FLEMISH 
SCHOOL 

ambrosius  benson  or  benzone:  Place  and  date  of  his  birth  un- 
known, but  he  is  known  to  have  been  of  Lombard  origin;  elected 
member  of  the  Council  of  the  Guild  at  Bruges  in  1521,  1539,  1540 
and  1545  and  Dean  in  1537-38  and  1543-44;  acted  as  adviser  to 
the  Magistrate  of  Bruges  in  regard  to  the  decoration  of  the 
Landshuis;  died  in  1 550. 

PORTRAIT  OF  A MAN  No.  38 

On  wood  h.  17%  in.;  w.  12J4  in. 

From  Mrs.  Philip  Lydig’s  Collection 

NEUFCHATEL  [ 1520? - 1590? ] FLEMISH 
(SCHOOL  OF  ANTWERP) 

nicolas  neufchatel,  or  de  novo  castello,  called  Lucidel,  was 
born  in  1520  at  Mons,  Hainault;  pupil  of  P.  Cock  van  Aelst  in 
Antwerp;  worked  in  Nuremberg  and  in  Prague;  painted  a por- 
trait of  Princess  Anna,  daughter  of  Emperor  Maximilian  II,  and 
of  various  other  notables  of  his  time,  many  of  which  are  now 
attributed  to  Holbein;  he  died  probably  in  Nuremberg  in  1590. 

PORTRAIT  OF  EDWARD  SCAMBLER  No.  39 

On  wood  h.  28  M in.;  w.  22  in. 

Inscribed  in  upper  right-hand  corner  anno  dominis  1586, 
aetatis,  svae,  74 

Inscribed:  Upper  left-hand  corner,  under  family  crest:  “E.  Scambler,  Norwic 
Epus,OB  1594,”  painted  by  another  hand,  probably  after  the  death  of  the  sitter. 


20 


FLEMISH  PAINTING 


Edward  Scambler,  the  subject  of  this  portrait,  was  bishop  of  Peterborough  and 
Norwich;  buried  in  Norwich  Cathedral. 

Lent  by  The  Kleinberger  Galleries 

MORO  [ 1512?  - 19  - 1 576?  ] FLEMISH  SCHOOL 
Antonis  mor,  called  Antonio  More  in  England,  and  Moro  in 
Spain;  also  known  as  Moor:  Born  in  Utrecht  about  1512-19; 
pupil  of  Jan  van  Scorel  after  that  painter  had  become  Italianized, 
and  his  influence  is  discernible  in  Moro’s  early  portraits;  later  he 
emulated  the  style  of  Holbein  quite  successfully;  painted  his- 
torical subjects  as  well  as  portraits;  was  the  favorite  Court 
Painter  of  King  Philip  II  of  Spain  until  he  fell  out  of  favor  through 
an  indiscreet  jest;  died  in  Antwerp  some  time  before  1582. 

PORTRAIT  OF  SENORA  DEL  RIO  No.  4O 

On  canvas  h.  33 % in.;  w.  26 in. 

Collection  of:  Baron  van  der  Graecht  of  Bruges,  a descendant  of  the  Del  Rio 
family. 

Lent  by  The  Ehrich  Galleries 


RUBENS  [1577-1640]  FLEMISH  SCHOOL 
pieter  Paul  rubens:  Born  at  Siegen,  Westphalia,  in  1577; 
studied  first  with  Tobias  Verhaagt,  then  with  Adam  van  Noort 
from  1 591  to  1594,  after  which  he  studied  four  years  under  Otho 
van  Veen;  in  1600  he  went  abroad  and  made  an  extended  sojourn 
in  Italy  and,  upon  his  return  to  Antwerp  in  1608,  became  Court 
Painter  to  Albert  and  Isabella,  regents  of  the  Netherlands;  com- 
missioned by  Marie  de  Medici  to  paint  a series  celebrating  the 
most  conspicuous  events  in  her  life;  between  1627  and  1630  he 
was  sent  on  two  quasi-diplomatic  missions  to  the  Courts  of 
Madrid  and  London;  his  career  can  be  divided  into  three  fairly 
distinct  periods:  from  1600  to  1609;  from  1609  to  1617  and  thence 
to  his  death  May  30,  1640. 

THE  HUNT  No.  4I 

On  wood  h.  29  in.;  w.  60%  in. 

Article  by  Dr.  W.  R.  Valentiner  in  “Zeitschrift  Fur  Bildende  Kunst,”  May,  1912, 
(Vol.  XXIII,  Section  8,  page  186).  This  is  one  of  several  such  compositions 


FLEMISH  PAINTING 


21 


painted  by  Rubens  as  a result  of  his  understanding  study  of  the  revolutionary 
principles  of  composition  revealed  in  Leonardo’s  famous  decoration  known  as 
The  Hattie  of  the  Standard,  then  engaging  the  interest  of  the  world  of  art  and 
now  known  chiefly  through  the  copy  of  it  made  by  Rubens,  which  is  one  of  the 
treasures  of  the  Louvre.  It  affords  a striking  example  of  Rubens’  progressive  and 
wide-awake  mind. 

Lent  by  The  Ehrich  Galleries 


VAN  DYCK  [1599-1641]  FLEMISH  SCHOOL 

ANTONIUS,  ANTHONIS,  ANTHONIE,  ANTOON  Or  ANTONIO,  usually 
called  Anthony  Van  Dyck,  painter  and  etcher:  Born  in  Antwerp, 
March  22,  1599;  apprenticed  to  Hendrik  van  Balen  at  the  age  of 
ten,  and  six  years  later  entered  the  studio  of  Rubens,  with  whom 
he  remained  five  years.  At  the  age  of  nineteen  he  was  admitted 
into  the  Painters’  Guild  of  St.  Luke  at  Antwerp;  visited  Italy  and 
studied  the  works  of  Titian,  Veronese,  and  Tintoretto;  visited 
London  in  1632  and  became  the  favorite  Court  Painter  of  Charles 
I,  who  conferred  upon  him  the  first  title  of  knighthood  ever  given 
an  artist  in  England;  died  in  London  December  9th,  and  was 
buried  in  St.  Paul’s,  December  1 1,  1641. 

PORTRAIT  OF  THOMAS  CHALONER  No.  42 

On  canvas  h.  41  kf  in.;  w.  32  Li  in. 

Thomas  Chaloner,  the  subject  of  this  portrait,  was  one  of  the  most  prominent 
figures  in  the  struggles  between  the  Stuart  Kings  and  his  people.  Pie  was  one  of 
the  judges  who  signed  the  death  warrant  of  Charles  I in  1648.  This  portrait  is  one 
of  two  painted  of  Thomas  Chaloner  by  Van  Dyck  and  is  declared  by  Dr.  Bode  to 
be  one  of  the  best  examples  of  the  master’s  art  during  his  residence  in  England. 
The  other  portrait,  practically  the  same  size  as  this,  passed  into  the  possession  of 
the  Empress  Catherine  and  now  adorns  the  Hermitage  in  Petrograd. 

Lent  by  The  Ehrich  Galleries 

PORTRAIT  OF 

PRINCE  DORIA  OF  GENOA  No.  43 

On  canvas  h.  30%  in.;  w.  24^  in. 

From  the  Collection  Podio,  Venice.  Dr.  Hofstede  de  Groot,  who  examined  the 
picture  carefully,  declares  it  “to  be  a genuine  and  characteristic  picture  by 
Anthony  Van  Dyck,  of  his  Genoese  period.” 

Lent  by  The  Knnedler  Galleries 


n n 


DUTCH  PAINTING 


BOSCH  [ 1460? - 1516 ] DUTCH  SCHOOL 
Hieronymus  van  acken,  known  as  Jeroen  and  Jerome,  but  more 
generally  called  Hieronymus  Bosch  (or  Bos)  from  his  birthplace, 
Hertogenbosch  (Bois-le-Duc),  where  he  was  born  between  the 
years  1460  and  1464  and  where  he  died  in  1516.  In  his  strange 
and  mystical  representations  of  spectres,  devils  and  incantations, 
this  original  Dutchman  is  the  precursor  of  William  Blake.  Occa- 
sionally he  departed  from  this  strange  vein  of  mystical  and 
almost  diabolical  humor  to  interpret  in  a spirit  of  devout  piety 
religious  themes,  such  as  the  Flight  Into  Egypt  and  Christ  Bearing 
His  Cross  in  the  Church  of  Bois-le-Duc.  Examples  of  his  work 
are  comparatively  rare,  and  the  engravings  which  were  formerly 
ascribed  to  him  are  now  known  to  have  been  executed  by  Alaert 
du  Hameel  and  other  masters,  from  Bosch’s  designs. 

A SAINT  No.  44 

On  wood  h.  15  in.;  w.  10  in. 

Lent  by  The  Ehrich  Galleries 


GOYEN  [1596-1656]  DUTCH  (SCHOOL  OF 
HAARLEM) 

jan  josefsz  van  goyen:  Born  at  Leyden;  he  had  five  instructors 
before  he  was  nineteen;  after  a visit  to  France  in  1615  he  studied 
with  Esaias  van  de  Velde  at  Haarlem;  his  works  of  this  period 
show  remarkable  proficiency  while  reflecting  the  influence  of  his 
last  master;  left  Leyden,  1631,  and  settled  in  The  Hague, where  he 
resided  until  his  death  busily  engaged  meeting  the  demands  of 
an  ever-increasing  public;  he  married  and  had  two  daughters, 
and  lost  heavily  in  various  speculations;  his  work  is  typical  of 
the  best  traditions  of  Dutch  landscape  painting. 

LANDSCAPE 

On  wood  h.  1 4 in.;  w.  22%  in. 

Lent  by  The  Knoedler  Galleries 


No.  46 


VAN  HEMESSEN:  ST.  JEROME 


No.  36 


RUBENS:  THE  HUNT  N04I 


DUTCH  PAINTING 


23 


PALAMEDES  [1601-1673]  DUTCH  SCHOOL 
Anthonie  palamedes  or  palamedesz,  called  Stevaerts;  usually- 
signed  himself  A.  Palamedes:  Born  in  Delft  about  1601,  son  of 
Palamedes  Stevaerts,  a gem  engraver;  became  a member  of  the 
Guild  in  1621  and  was  its  President  continuously  from  1651  to 
1673,  the  year  of  his  death  in  Amsterdam;  his  art  was  developed 
under  the  influence  of  Michiel  Jansz  Mierevelt  and  Franz  Hals. 
He  frequently  collaborated  with  A.  de  Lorme  and  is  said  to  have 
painted  the  figures  in  the  architectural  pieces  of  his  friend  Dirk 
van  Delen. 

PORTRAIT  OF  A LADY  ' No.  47 

On  canvas  h.  32%  in.;  w.  i6}/2  in. 

Signed  a.  palamedes  pinxit.  Dated  1654 
Lent  by  The  Ehrich  Galleries 

REMBRANDT  [1606?- 1669]  DUTCH  SCHOOL 
rembrandt  harmensz  van  rijn,  painter  and  etcher:  Born  at 
Leyden  July  15,  1606  (?);  died  in  Amsterdam  October  8,  1669. 
He  excelled  in  every  branch  of  painting  and  made  the  then 
obscure  and  insignificant  art  of  etching  one  of  the  great  arts,  his 
drawings  being  no  less  significant  of  his  greatness  than  his  paint- 
ings. His  versatility  and  creative  fertility,  coupled  with  a reveal- 
ing power  of  characterization,  revivified  by  a vigorous  imagina- 
tion, made  his  art  the  outstanding  glory  of  his  epoch,  not  only  in 
Holland  but  in  the  whole  of  Europe. 

ST.  PETER  No.  48 

On  wood  h.  15K  in.;  w.  I2j^  in. 

Illustrated  in  article  by  Dr.  Bredius  in  “Art  in  America,”  Vol.  I (1913)^0.  4, 
page  276. 

Lent  by  The  Ehrich  Galleries 


DE  HEEM  [1606-1683?]  DUTCH  SCHOOL 
(UTRECHT) 

jan  davidszoon  de  heem:  Born  at  Utrecht  in  1606;  died  between 
the  14th  of  October,  1683,  and  26th  of  April,  1684,  at  Antwerp; 


24 


DUTCH  PAINTING 


pupil  of  his  father,  David  de  Heem,  the  flower  painter.  He  was 
one  of  the  most  accomplished  and  brilliant  painters  of  still  life  of 
the  naturalistic  school,  then  so  much  in  vogue  in  the  Low  Coun- 
tries. 

TABLE  WITH  FRUIT  No.  49 

On  canvas  h.  46  in.-,  w.  66 % in. 

Signed j.  d.  de  heem,  f.  Dated  1663 

Collection  of:  The  Rt.  Hon.  Lord  Grimthorpe. 

Lent  by  The  Ehrich  Galleries 


WIJNANTS  [1615-25?-  1682? ] DUTCH  SCHOOL 
jan  wijnants,  one  of  the  founders  of  the  great  Dutch  School  of 
landscape  painting:  Born  at  Haarlem,  probably  about  1615;  the 
main  events  of  his  life  are  clouded  in  obscurity;  tradition  has  it 
that  he  was  the  master  of  Philips  Wouwerman  and  of  Adriaen 
van  de  Velde;  his  earliest  known  pictures  are  dated  1641  and 
1642,  while  the  latest  date  so  far  discovered  on  any  of  his  pic- 
tures is  1679,  signed  to  the  painting  in  the  Hermitage  at  Petro- 
grad;  he  worked  at  Haarlem  and  in  Amsterdam,  where  it  is  sup- 
posed he  died  some  time  around  1680. 

CHATEAU  DE  CLEVES  No.  50 

On  canvas  h.  32%  in.-,  w.  40  in. 

Signed  j.  wijnants.  Dated  1675 
Lent  by  The  Ehrich  Galleries 


BOL  [ 1616?-  1680]  DUTCH  (SCHOOL  OF 
AMSTERDAM) 

Ferdinand  bol:  Baptized  in  Dordrecht,  June  24,  1616;  son  of 
Balthasar  Bol,  a doctor;  settled  in  Amsterdam  before  1640  and 
became  a pupil  of  Rembrandt.  The  Portrait  of  an  Old  Lady  in  the 
Berlin  Gallery,  signed  and  dated  1642,  is  his  earliest  known 
work;  he  attained  a very  considerable  artistic  and  financial  suc- 
cess, and  many  of  his  paintings  and  etchings  have  been  attributed 
to  Rembrandt  and  vice  versa.  He  was  buried  at  Amsterdam  on 
July  24, 1680. 


VAN  DYCK:  PORTRAIT  OF  PRINCE  DORIA  OF  GENOA 


No.  43 


BOSCH : A SAINT 


No.  44 


DUTCH  PAINTING 


No.  51 


THE  TEMPTATION 
On  canvas  h.  36)4  *'«•;  w.  45^  ln- 

The  young  woman  in  this  picture  bears  a strong  resemblance  to  Rembrandt’s 
wife  Saskia,  who  very  likely  posed  for  Bol  during  the  time  he  studied  with  Rem- 
brandt. 

Lent  by  The  Durand-Ruel  Galleries 

CUYP  [1620-1691]  DUTCH  (SCHOOL  OF 
HAARLEM) 

aelbert  cuyp  or  cuijp:  Born  at  Dordrecht  in  October,  1620; 
studied  with  his  father,  Jacob  Gerritsz  Cuyp;  his  earliest  pictures 
date  from  1639,  being  chiefly  landscapes  and  coast  views,  swiftly 
sketched  with  little  detail  in  the  manner  of  Van  Goyen  and  P. 
Molyn;  became  extremely  versatile,  painting  portraits  of  the 
gentry  with  their  horses  as  well  as  studies  of  animals  and  fowls, 
landscapes  and  genre  pieces,  suffused  in  a golden  glow  of  light; 
certain  of  his  pictures  reveal  rather  marked  Rembrandt  influ- 
ence; he  died  at  Dordrecht  and  was  buried  November  6,  1691. 

HALT  OF  DUTCH  NOBLEMEN 

BEFORE  AN  INN  No.  52 

On  wood  h.  16E2  in.;  w.  21  in. 

Collection  of:  Sir  John  Newington  Hughes  (1810);  Joseph  Bosch,  Vienna  (1885); 
and  of  George  of  Epernay.  Described  in  Smith’s  Catalogue  Raisonne.No.  219; 
engraved  for  the  Bosch  Collection. 

Lent  by  The  Durand-Ruel  Galleries 


RUISDAEL  [1628-29-1682]  DUTCH  (SCHOOL 
OF  HAARLEM) 

Jacob  van  ruisdael,  son  of  a frame  maker:  Born  at  Haarlem; 
was  a member  of  the  Painters’  Guild  as  early  as  1648;  his  early 
works  are  simple  in  motif  and  carefully  studied,  but  rather  heavy 
and  opaque  in  the  shadows,  a fault  entirely  absent  in  his  later 
works,  which  reveal  him  as  one  of  the  most  profound  interpreters 
of  nature  in  the  whole  range  of  landscape  painting. 


l6 


GERMAN  PAINTING 


LANDSCAPE  WITH  CASCADE  No.  53 

On  canvas  h.  30 in.;  w.  37  in. 

Signed  ruisdael.  Dated  1680 

Described  in  Smith’s  Catalogue  Raisonne,  Supplement,  page  697 , No.  47. 
Described  and  reproduced  in  the  Catalogue  Febvre,  No.  82.  Exhibited:  British 
Institution,  1841.  Collections  of:  Lord  Crew,  London;  A.  Febvre,  Paris,  1882; 
Adolphe  Schloss,  Paris. 

Lent  by  The  Kleinberger  Galleries 


MAES  [1632-1693]  DUTCH  SCHOOL 
nicolaas  maes  or  maas,  portrait  and  genre  painter:  Born  at 
Dordrecht  in  1632;  studied  under  Rembrandt,  whose  style  he 
emulated  in  his  earlier  pictures;  removed  to  Antwerp  in  1665, 
where  he  lived  until  1678,  in  which  year  he  returned  to  Amster- 
dam, where  he  died  in  1693.  These  are  all  the  facts  so  far  brought 
to  light  concerning  his  life.  The  change  in  the  style  of  his  later 
pictures  is  so  remarkable  that  it  has  been  suggested  that  they 
are  by  another  painter  of  the  same  name,  a notion  that  re- 
ceives some  support  from  the  fact  that  the  signatures  upon 
them  are  ornamented  with  flourishes  which  never  appeared  on 
his  earlier  and  far  better  works. 

PRINCESS  OF  ORANGE  No.  54 

On  canvas  h.  263^  in.;  w.  2234  in. 

Listed  in  Hofstede  de  Groot’s  Catalogue  Raisonne,  Vol.  VI,  No.  468,  p.  581 
(London,  1916). 

Lent  by  The  Ehrich  Galleries 


GERMAN  SCHOOL  [LATE  XV  CENTURY] 

See  Introduction 

triptych:  descent  from  the  cross  with 

PORTRAITS  OF  DONORS  ACCOMPANIED 
BY  SAINTS  ON  SHUTTERS  No.  55 

On  wood:  Center  Panel  h.  27 LT  in.;  w.  18  34  in.  Left  Panel  h.  2734 
in.;  w.  7 Yi  in.  Right  Panel  h.  2734  in.;  w.  7%  in. 

Lent  by  The  Ehrich  Galleries 


DE  HE  EM:  TABLE  WITH  FRUIT 


GERMAN  PAINTING 


27 


CRANACH  [1472-1553]  GERMAN  (SCHOOL 
OF  SAXONY) 

lucas  cranach,  the  elder:  Born  October  4,  1472,  in  Kronach 
in  Upper  Franconia;  pupil  of  his  father;  established  his  residence 
at  Wittenberg,  where  he  became  a friend  and  intimate  of  Luther 
and  Court  Painter  to  three  Saxon  Electors,  and  accompanied 
John  Frederick  the  Magnanimous  in  his  captivity  during  his 
imprisonment  at  Innsbruck  after  the  latter’s  defeat  at  the  Battle 
of  Miihlberg;  he  died  in  Weimar  October  16,  1553. 

PORTRAIT  OF  SIBILLE  OF  CLEVES  No.  56 

On  wood  h.  23  /».;  w.  16  in. 

The  subject  of  the  foregoing  portrait  was  the  wife  of  John  Frederick  of  Saxony, 
Cranach’s  devoted  friend  and  patron.  Reproduced  in:  “Paintings  of  the  Middle 
Ages,”  by  Solomon  Reinach,  Vol.  II,  p.  377.  Collections  of:  Buchner;  Alexis 
Schoenbank  of  Cologne;  Dr.  Muller,  Paris;  and  Countess  de  Casa  Miranda,  from 
whom  it  was  acquired. 

Lent  by  The  OeMotte  Galleries 

BALDUNG  [ATTRIBUTED  TO:  1480?  - 1545  ] 
GERMAN  (SCHOOL  OF  SUABIA) 
hans  baldung,  called  Grien  or  Grim,  probably  from  his  fondness 
for  green,  was  born  at  Weyerstein  near  Strassburg  about  1480; 
nothing  is  known  of  his  youth  save  that  he  settled  at  Strassburg 
in  1509  and  two  years  later  went  to  Freiburg-in-the-Breisgau, 
where  he  was  occupied  with  important  commissions  until  1517; 
his  first  known  painting,  dated  1501,  is  a portrait  of  Emperor 
Maximilian;  under  the  direction  of  Diirer  he  executed  the  copies 
of  the  latter’s  Adam  and  Eve , now  in  the  Pitti  Palace  at  Florence, 
and  probably  assisted  him  in  other  works  as  well,  and  thus  cer- 
tain of  his  unsigned  portraits  have  come  to  be  attributed  to 
Diirer;  he  was  an  engraver  on  copper  as  well  as  on  wood,  execut- 
ing over  one  hundred  designs;  he  painted  religious,  mythological 
and  allegorical  subjects  as  well  as  portraits;  he  died  in  Strassburg 
in  1545. 


CLEOPATRA 


GERMAN  PAINTING 


No.  57 


On  wood  h.  32®^  in.;  w.  27^  in. 
Lent  by  The  DeMotte  Galleries 


AMBERGER  [ 1490? - 1562? ] GERMAN  SCHOOL 
(AUGSBURG) 

christoph  amberger,  painter  and  designer  for  wood  cuts:  Born 
about  1490-1500,  either  in  Nuremberg,  Ulm,  or  Amberg,  each  of 
which  places  is  given  as  his  birthplace  by  various  authorities. 
According  to  Doppelmayer,  he  was  the  pupil  of  Hans  Holbein, 
the  Elder,  while  other  writers  assert  that  he  was  the  disciple  of 
his  father,  Leonhard  Amberger,  though  his  art  appears  to  be 
influenced  strongly  by  the  work  of  Hans  Burgkmair  and  by  that 
of  certain  Venetians;  however,  the  predominant  influence  upon 
his  art  undoubtedly  came  from  the  work  of  Hans  Llolbein,  the 
Younger,  to  whom  are  attributed  several  ofAmberger’s  portraits, 
such  as  the  well-known  Portrait  of  Emperor  Charles  V,  painted 
in  1 532,  now  reposing  in  the  Institute  of  Fine  Arts  at  Siena. 

PORTRAIT  OF  CONRAD  ZELLER  No.  58 

On  wood  h.  2834  In.;  w.  21^  in. 

Lent  by  The  Ehrich  Galleries 

BRUYN  [1493-1557?]  GERMAN  (COLOGNE 
SCHOOL) 

bartholomaus,  generally  known  as  Barthel  Bruyn  or  Bruin, 
Brun,  Bruen  and  Breun,  is  supposed  to  have  been  born  either  at 
Cologne  or  Wesel  in  1493;  his  earliest  work,  done  in  Cologne, 
reflects  Netherlandish  influence,  while  the  influence  of  Italy  is 
discernible  in  his  later  works,  and  his  portraits  show  his  admira- 
tion for  the  work  of  Joos  van  Cleve;  certain  of  his  earlier  paint- 
ings resemble  those  of  the  Master  of  the  Death  of  the  Virgin, 
whose  pupil  he  is  said  to  have  been. 

MARTYRDOM  OF  THE  SEVEN  MACCABEES  No.  59 
On  wood  h.  19^8  in.;  w.  14^  in. 

Lent  by  The  Ehrich  Galleries 


GERMAN  PAINTING 


29 


MASTER  OF  ST.  SEVERIN  [FLOURISHED: 
LATE  XV  AND  EARLY  XVI  CENTURIES] 
(COLOGNE  SCHOOL) 

This  Master  was  associated  with  the  Master  of  the  Holy  Kin- 
ship, who  was  active  about  the  same  time,  and  also  with  Dutch 
painters  of  this  age,  more  especially  with  Cornelius  Engel- 
brechtsen  and  occasionally  with  Hieronymus  Bosch.  Certain  of 
his  types  recall  an  earlier  Master  of  Haarlem,  Geertgen  van  S. 
Jans.  He  had  a great  number  of  followers  and  imitators.  Many 
of  his  works  are  found  at  Cologne, and  he  is  met  with  also  at 
Augsburg,  Hamburg,  Munich,  Werwer  near  Paderhorn  and  else- 
where. Glass  paintings  from  his  designs,  formerly  in  the  Cister- 
cian Abbey  of  Altenberg  are  now  divided  between  Cologne, 
Gondorf-on-the-Moselle,  Berlin,  Leipzig  and  Bonn. 

MADONNA,  CHILD  AND  ANGELS  No.  60 

On  wood  h.  11  in .;  w.  10  in. 

Lent  by  The  Ehrich  Galleries 

MASTER  OF  LYVERSBERG  ALTAR 
[ACTIVE:  EARLY  XVI  CENTURY] 

GERMAN 

geert  von  lon,  called  the  Master  of  Liesborn,  or  more  com- 
monly the  Master  of  Lyversberg  Altar  or  the  Lyversberg  Pas- 
sion, from  the  name  of  the  original  owner  (a  town  councillor  of 
Cologne)  of  the  painter’s  chief  work,  an  altarpiece  of  the  second 
convent  church  in  Liesborn,  near  Munster,  which  was  sold  in 
1807  and  separated  into  several  pieces,  most  important  of  which 
is  in  the  Museum  in  Cologne,  while  six  others  are  in  the  National 
Gallery  and  the  remainder  have  been  lost.  He  was  born  in 
Geseke,  near  Paderhorn,  Westphalia,  some  time  before  1500; 
the  date  of  his  death  is  unknown. 

THE  ENTOMBMENT  OF  CHRIST  No.  6l 

On  wood  h.  30  in. ; w.  21  % in. 

Lent  by  The  Kleinberger  Galleries 


3° 


GERMAN  PAINTING 


MASTER  OF  FRANKFORT  [ACTIVE: 

EARLY  XVI  CENTURY]  GERMAN  (SCHOOL 
OF  FRANKFORT) 

This  Master,  who  was  wrongly  identified  with  Conrad  Fyol, 
worked  at  Frankfort-on-the-Main  and  Cologne,  where  his  chief 
works  are  to  be  found  as  well  as  in  Munich;  very  little  is  known 
about  him,  but  it  is  thought  that  he  came  from  the  Netherlands 
or  from  the  Lower  Rhine;  his  works  show  a certain  affinity  with 
the  School  of  Antwerp. 

THE  ANNUNCIATION  No.  62 

On  canvas , transferred  from  wood  h.  36  in.;  w.  24%  in. 

Lent  by  The  DeMotte  Galleries 

CRANACH  [1515-1586]  GERMAN  SCHOOL 
(SAXONY) 

lucas  cranach  (or  kranach)  the  younger:  According  to  tra- 
dition, the  family  name  of  the  Cranachs  was  originally  Muller, 
but  the  Elector  of  Saxony  gave  Lucas  the  Elder  the  surname 
Cranach  from  his  native  town  Kronach,  in  the  Bishopric  of 
Bamberg  in  Franconia.  Painter  and  designer  for  wood  cuts:  Born 
in  Wittenberg,  October  4,  1515;  he  died  in  Weimar  January  5, 
1586,  and  was  buried  in  Wittenberg.  He  received  his  art  educa- 
tion in  his  father’s  workshop,  where  he  imbibed  a love  of  clear  and 
precise  characterization  strongly  resembling  that  of  Hans  Hol- 
bein. Though  weaker  in  drawing  and  less  forceful  in  coloring,  his 
work  is  often  mistaken  for  that  of  his  father.  He  was  an  ardent 
partisan  of  the  Reformation,  as  is  clearly  indicated  in  one  of  his 
works  in  the  principal  church  at  Wittenberg  representing  the 
vineyard  of  the  Lord,  “One  half  of  which  is  being  destroyed  by 
the  clergy  of  the  Roman  Church,  whilst  the  heroes  of  the  Refor- 
mation are  employed  in  cultivating  the  other.” 

PORTRAIT  OF  A LADY 
On  wood  h.  25  in.;  w. 16J4  in. 

Lent  by  The  Ehrich  Galleries 


No.  63 


bol:  the  temptation 


RUISDAEL:  LANDSCAPE  WITH  CASCADE 


SPANISH  PAINTING 


31 


GERMAN  SCHOOL  [LATE  XVI  CENTURY] 

See  Introduction 

VIRGIN  SURROUNDED  BY  ANGELS 

WITH  PORTRAITS  OF  DONORS  No.  64 

On  wood  h.  38  in w.  23  in. 

This  extremely  interesting  panel  with  its  naive  peasant-like  sincerity  of  concep- 
tion and  execution  recalls  certain  altarpieces  found  in  small  wayside  churches 
throughout  Tyrol.  It  is  an  authentic  expression  of  the  folk-art  out  of  which  grew 
the  art  of  the  great  German  masters. 

Lent  by  The  Ehrich  Galleries  , 

DE  BURGOS  [ACTIVE:  MIDDLE  XV 
CENTURY]  SPANISH  SCHOOL 
juan  de  burgos:  An  excellent  but  little-known  Spanish  painter 
who  worked  probably  in  the  second  quarter  of  the  XV  Century. 
Very  few  pictures  by  him  have  so  far  been  identified,  among 
these  being  The  Annunciation , a painting  in  tempera  on  wood, 
representing  the  Virgin  in  one  panel  and  Gabriel  in  the  other,  in 
the  Fogg  Museum,  Cambridge,  Mass.,  and  the  half-length 
figure  of  Saint  Blaise , attributed  to  him  under  No.  13  in  the 
Catalogue  of  Ancient  Paintings  sold  by  the  Kleinberger  Galleries 
in  January  of  1918. 

ST.  AUGUSTINE  No.  65 

On  wood  h.  25%  in .;  w.  20  in. 

Lent  by  The  Ehrich  Galleries 

VERGOS  [ACTIVE:  MIDDLE  OF  XV 
CENTURY]  SPANISH  (CATALONIAN 
SCHOOL) 

pablo  vergos:  A distinguished  member  of  the  extremely  talented 
Vergos  family,  who  gave  to  Spain  several  of  the  most  interesting 
artists  in  the  XV  Century,  and  to  whom  are  credited  some  very 
fine  altarpieces  and  a few  votive  pictures,  many  of  which  are  to 
be  found  in  Barcelona;  the  works  of  all  this  family  are  charac- 
terized by  a certain  archaic  quality  combined  with  a rather 
sensuous  feeling  for  color. 


32 


SPANISH  PAINTING 


MADONNA  AND  CHILD,  SURROUNDED 

BY  SAINTS  AND  ANGELS  No.  66 

On  wood  h.  73  M w.  52}^  in. 

An  excellent  example  of  this  rarely  seen  master’s  work. 

Lent  by  The  DeMotte  Galleries 

MORALES  [1509-1586]  SPANISH  SCHOOL 
luis  de  morales,  called  El  Divino:  Born  about  1509  in  Badajoz 
in  Estremadura,  where  he  spent  the  first  years  of  his  life  in 
obscurity,  painting  mournfully  dramatic  religious  paintings  in- 
spired by  genuine  religious  feeling;  his  style  is  a mixture  of 
Flemish  and  Italian  influences  then  much  in  vogue  in  Spain. 
The  reasons  for  calling  him  El  Divino  are  hardly  to  be  found  in 
his  works,  which  reveal  a rather  restricted  artistic  horizon. 

MADONNA  AND  CHILD  No.  67 

On  wood  h.  23  in.;  w.  16  in. 

Lent  by  The  Ehrich  Galleries 


COELLO  [ 1513 ? - 1590 ] SPANISH  SCHOOL 
(VALENCIA) 

alonzo  sanchez  coello:  Born  at  Benyfayro  in  Valencia  in  1513 
or  1515.  His  work  suggests  that  he  may  have  studied  in  Italy 
or  at  least  come  strongly  under  the  influence  of  the  Florentines, 
whom  he  resembles  in  design,  while  his  color  more  nearly  resem- 
bles that  of  the  Venetians.  During  his  residence  in  Madrid  he 
came  directly  under  the  influence  of  Antonio  Mor  (Moro),  whom 
he  succeeded  in  royal  favor  when  the  latter  was  forced  to  flee 
from  Spain. 

PORTRAIT  OF  SENORA  DE  MENDOZA  No.  68 

On  canvas  h.  44 in.;  w.  32  in. 

The  subject  of  this  very  characteristic  example  of  Coello’s  art  was  the  wife  of 
Bernardini  de  Mendoza. 

Lent  by  The  Ehrich  Galleries 


No.  54 


MAES:  PRINCESS  OF  ORANGE 


CRANACH,  THE  ELDER:  PORTRAIT  OF  SIBILLE  OF  CLEVES 


No.  56 


SPANISH  PAINTING 


33 


EL  GRECO  [ 1500?-  1614]  SPANISH  SCHOOL 
dominico  theotocopuli:  By  general  custom,  begun  in  his  day, 
called  El  Greco,  meaning  the  Greek,  from  the  fact  of  his  birth 
on  the  island  of  Crete,  one  knows  not  in  what  year,  though  the 
fact  of  his  death  is  specifically  recorded  in  the  “Book  of  Burials” 
in  Santo  Tomas  “as  occurring  on  the  7th  of  April,  1614.”  He  is 
supposed  to  have  studied  with  Titian  and  come  very  strongly 
under  the  influence  of  the  Venetians,  particularly  Tintoretto, 
whose  general  style  and  color,  with  certain  modifications  and 
exaggerations,  is  reflected  in  his  earlier  works.  He  is  one  of  the 
most  original  and  personal  artists  ifi  the  whole  history  of  Euro- 
pean painting. 

ST.  JOHN  No.  69 

On  wood  h.  41 M w.  20  % in. 

Lent  by  The  Ehrich  Galleries 

THE  HOLY  VIRGIN  No.  70 

On  wood  h.  41  % in.-,  w.  20%  in. 

Lent  by  The  Ehrich  Galleries 

ST.  FRANCIS  No.  71 

On  canvas  h.  18  in.;  w.  15^  in. 

From  the  collection  of  Don  Pablo  Bosch,  Madrid 
Lent  by  The  Ehrich  Galleries 

ST.  CATHERINE  No.  72 

On  canvas  h.  22 in.;  w.  19  in. 

Signed  in  jull  in  Greek 

Exhibited:  “National  Loan  Exhibition,”  London,  Grosvenor  Gallery,  1913-14, 
No.  34.  Greco-Goya  Exhibition,  M.  Knoedler  & Co.,  New  York,  1915,  No.  8. 
Collections:  Jose  M.  Mivez  del  Prado.  Ricardo  de  Madrazo,  Madrid. 

Lent  by  The  Knoedler  Galleries 

JESUS  IN  THE  HOUSE  OF  SIMON  No.  73 

On  canvas  h.  5 6l/&  in.;  w.  39 M in. 

Last  epoch  of  El  Greco:  1604-1614.  This  picture  is  supposed  to  be  one  of  the 
five  pieces  comprising  the  large  altarpiece  in  the  Church  of  Titulcia  of  Bayone 
in  the  province  of  Madrid,  where  there  are  only  four  left.  It  represents  the  repast 
in  the  house  of  Simon  where  Magdalene  is  seen  anointing  the  head  of  Christ. 
It  was  formerly  in  Bilbao,  owned  by  the  artist  Guinea,  and  afterwards  by  Mr. 


34 


SPANISH  PAINTING 


Plasencia.  There  is  another  similar  picture  owned  in  London  by  Sir  Edgar 
Vincent,  but  there  is  nothing  on  the  table  and  it  is  an  entirely  closed  room.  In 
Cossio’s  book.  No.  325,  p.  602.  Formerly  in  the  Prince  of  Wagram’s  Collection. 

Lent  by  Durand-Ruel  Galleries 

THE  ANNUNCIATION  No.  74 

On  canvas  h.  50^8  *’»•;  w.  33  in. 

Second  Epoch:  1594-1604.  In  Cossio’s  book.  No.  301,  p.  599.  Mentioned  in 
Barres  and  Lafond’s  book  on  p.  142.  From  the  Marquis  de  Cervara  Collection. 

Lent  by  Durand-Ruel  Galleries 

ST.  FRANCIS  OF  ASSISI  No.  75 

On  canvas  h.  26  46  in.;  w.  21  J4  *»■ 

Signed  in  full  in  Greek 

Second  Epoch:  1594-1604.  In  Cossio’s  book,  No.  297.  Reproduced  in  Barres 
and  Lafond’s  book,  p.  68.  From  the  Cherfils  Collection,  Paris. 

Lent  by  Durand-Ruel  Galleries 


ZURBARAN  [1598-1662]  SPANISH  (SCHOOL 
OF  SEVILLA) 

Francisco  de  zurbaran:  Baptized  on  November  7,  1598,  in 
Fuente  de  Cantos  in  Estremadura;  son  of  a peasant  landowner; 
studied  with  Juan  de  Roelas,  painted  constantly  from  nature 
and  admired  Caravaggio;  acquired  a considerable  reputation 
before  his  twenty-first  year;  painted  various  altarpieces  and 
other  important  commissions  in  Seville  as  well  as  many  por- 
traits, especially  of  the  white-robed  Carthusian  monks,  a favor- 
ite subject  with  him;  was  one  of  the  favorite  Court  Painters  of 
Philip  IV;  died  in  Madrid  about  1662. 

ST.  LUCY  No.  76 

On  canvas  h.  72  in.;  w.  44  in. 

Illustrated  in  color  in  “Arts  and  Decorations,”  March,  1916;  article  by  Dr. 
August  L.  Mayer. 

Lent  by  The  Ehrich  Galleries 


amberger:  PORTRAIT  OF  CONRAD  ZELLER 


No.  58 


— ■ 


bruyn:  martyrdom  of  the  seven  maccabees 


No.  59 


SPANISH  PAINTING 


35 

No.  77 


PORTRAIT  OF  MIGUEL  DEL  POZO 
On  canvas  h.  40  in.;  w.  33  l/i  in. 

Signed  fo.  zurbaran.  Dated  1630,  and  inscribed  el  be  pe.  po. 

S.  MIGUEL  DEL  POZO. 

Illustrated  in  “Arts  and  Decorations,”  for  March,  1 g 1 6;  article  by  Dr.  August 
L.  Mayer. 

Lent  by  The  Ehrich  Galleries 


DE  MIRANDA  [1614-1685]  SPANISH  SCHOOL 
juan  carreno  de  miranda:  Born  at  Aviles;  studied  with  Pedro 
de  Las  Cuevas  and  Bartolome  Roman  and  was  strongly  influ- 
enced by  his  great  contemporary,  Velasquez;  attached  to  the 
Court  of  Philip  IV  and  later  of  Charles  II,  both  of  whom  he 
painted  several  times;  was  a mural  painter  as  well  as  a portrait 
painter  of  distinction  and  executed  several  etchings;  died  in 
Madrid,  1685. 

SELF  PORTRAIT  No.  78 

On  canvas  h.  79  in.;  w.  43  K in. 

Signed  with  monogram  in  the  lower  right 

Collection  of  the  late  Count  Nelidoff,  Russian  Ambassador  to  France. 

Lent  by  The  Kleinberger  Galleries 

GOYA  [1746-1828]  SPANISH  SCHOOL 
Francisco  jose  de  goya  y lucientes  : Painter,  etcher  and 
lithographer.  Born  at  Fuente  de  Todos  in  Aragon,  March  30, 
1746;  son  of  humble  peasants;  studied  with  Jose  Lujan  Martinez; 
traveled  and  studied  in  Italy,  Bullfighter,  brawler,  artist,  revolu- 
tionist, lover  and  court  painter  but  never  courtier,  Goya  summed 
up  in  his  person  the  eager,  restless  and  rebellious  spirit  of  the 
time  as  perhaps  none  other  in  the  art  or  literature  of  Spain. 

PORTRAIT  OF  ADMIRAL  MAZARREDO  No.  79 

On  canvas  h.  22  in.;  w.  17  in. 

From  the  collection  of  De  Beruete,  Senior,  of  Madrid  (the  eminent  authority  on 
Spanish  Art). 

Lent  by  The  Ehrich  Galleries 


36 


FRENCH  PAINTING 


DON  RAMON  DE  POSADA  Y SOTO  No.  80 

On  canvas  h.  35  in.;  w.  2 6p£  in. 

Signed  goya 

He  was  First  President  of  the  Court  of  Justice  at  Cadiz,  Spain.  Exhibited: 
Greco-Goya  Exhibition,  M.  Knoedler  & Co.,  New  York,  1915,  No.  23.  Repro- 
duced in  “Goya”  by  Calvert,  plate  III;  and  catalogued  there  on  p.  139,  No. 
217a.  Catalogued:  “Goya”  by  Lafond,  p.  136,  No.  191;  by  Loga,  p.  202,  No. 
310;  by  Stokes,  p.  334,  No.  158;  by  Beruete,  p.  174,  No.  125.  Collection:  Don 
Jose  Maria  Perez  Caballero. 

Lent  by  The  Knoedler  Galleries 

PORTRAIT  OF  ASENSIO  JULIA  (l8oo)  No.  8l 

On  canvas  h.  21  in.;  w.  16 34  in. 

Signed  goya  a su  amigo  asensi 

Catalogued:  No.  146  in  Lafond’s  book.  No.  263  in  Loga’s  book. 

Lent  by  Durand-Ruel  Galleries 


LE  NAIN,  THE  BROTHERS  [FLOURISHED: 
EARLY  XVII  CENTURY]  FRENCH  SCHOOL 
antoine,  louis  and  mathieu,  three  brothers:  Born  at  Laon  in 
1588,  1593  and  1607,  respectively.  After  learning  the  elements 
of  painting  they  went  to  Paris,  where  Antoine  was  received  as  a 
painter  in  1629;  the  three  brothers  worked  a long  time  together 
in  Paris,  becoming  members  of  the  Academy  in  1648,  in  which 
year  both  Antoine  and  Louis  died;  Mathieu  painted  historical 
subjects  for  churches  as  well  as  genre  pieces  and  portraits,  among 
which  were  those  of  Cardinal  Mazarin  and  Anne  of  Austria;  he 
died  in  Paris  in  1677. 

A FAMILY  OF  THE  BOURGEOISIE  No.  82 

On  canvas  h.  23^  in.;  w.  30  in. 

Signed  le  nain.  Dated  1643 
Lent  by  The  DeMotte  Galleries 

AN  ARISTOCRATIC  FAMILY  No.  83 

On  canvas  h.  34  in.;  w.  45  in. 

Lent  by  The  DeMotte  Galleries 


FRENCH  PAINTING 


37 

No.  84 


THE  PROLETARIAT 
On  canvas  h.  36^  in.;  w.  49  in. 

Dated  ano  1633 
Lent  by  The  DeMotte  Galleries 

RIGAUD  [1659-1743]  FRENCH  SCHOOL 

HYACINTHE  FRANQOIS  HONORAT  MATHIAS  PI  ERR  E-LA-MARTYR 
andre  jean  rigaud-y-ros,  called  Rigaud:  Born  at  Perpignan, 
July  20,  1659;  studied  with  Pezet,  Verdier  and  Ranc;  was  con- 
siderably influenced  by  the  workof  Van  Dyck,  whose  disciple 
he  professed  to  be;  beginning  as  a painter  of  the  bourgeoisie,  lie 
finished  as  the  favorite  painter  of  kings  and  princes.  He  died  in 
Paris  in  1743. 

PORTRAIT  OF  A NOBLEMAN  No.  85 

On  canvas  h.  53  in.;  w.  40  in. 

Lent  by  The  Ehrich  Galleries 


WATTEAU  [1684-1721]  FRENCH  SCHOOL 
jean  antoine  watteau,  son  of  a plumber:  Born  at  Valenciennes, 
October  10,  1684;  from  his  childhood  up  he  was  of  an  extremely 
delicate  constitution;  apprenticed  to  M.  J.  A.  Gerin  and  worked 
for  a time  in  a decorative  shop  painting  little  figurines;  later 
studied  with  Gillot,  a fashionable  painter  of  decorative  panels, 
from  whom  he  learnt  much;  he  was  a great  student  of  the  Italian 
old  masters,  especially  Correggio,  Giorgione,  Titian  and  Vero- 
nese, from  which  he  evolved  a style  very  personal  and  essentially 
French,  characterized  by  a sparkling  vivacity  of  color  and  drawing 
that  may  be  said  to  have  created  a new  epoch  in  French  art.  He 
died  at  Nogent-sur-Marne  near  Paris  July  18,  1721. 

THE  TRIUMPH  OF  COLOMBINE  No.  86 

On  canvas  h.  2okf  in.;  w.  24^  in. 

Collection:  Comtesse  de  Gartembe,  Paris.  Exhibited:  “Bagatelle,”  1912. 

Lent  by  Messrs.  Gimpel  and  Wildenstein  Galleries 


38 


FRENCH  PAINTING 


TOCQUE  [1696-1772]  FRENCH  SCHOOL 
louis  tocque  or  tocquet:  Born  in  Paris,  1696;  studied  with 
Nicolas  Bertin  and  later  with  Hyacinthe  Rigaud;  elected  mem- 
ber of  the  Paris  Academy  in  1734;  invited  by  the  Empress  Eliza- 
beth to  the  Russian  Court,  where  he  painted  her  portrait  as  well 
as  portraits  of  various  members  of  her  entourage;  he  also  visited 
Copenhagen,  painting  the  Danish  royalties;  died  in  Paris  Febru- 
ary 10, 1772. 

PORTRAIT  OF  COMTE  DE  BERLAIMONT  No.  87 
On  canvas  h.  31  in.\  w.  25  in. 

Lent  by  The  Ehrich  Galleries 


CHARDIN  [1699-1779]  FRENCH  SCHOOL 
jean  baptiste  simeon  chardin,  son  of  a master  carpenter:  Born 
in  Paris,  November  2,  1699;  studied  under  Pierre-Jacques  Cazes; 
later  with  Noel-Nicolas  Coypel,  achieving  an  early  reputation 
as  a still-life  painter;  made  a member  of  the  Academie  Royale, 
September  25,  1728;  uninfluenced  by  current  practice  in  France, 
he  practiced  a frank  realism,  somewhat  refined  and  sublimated; 
the  early  part  of  his  career  was  devoted  to  still-life  painting,  to 
which  he  gave  a new  significance;  only  after  1737  did  he  begin 
his  delightful  genre  and  portrait  painting;  he  died  December  6, 
1 779- 

THE  CARD  BUILDER  No.  88 

On  canvas  h.  28  in.;  w.  35  M In- 

Signed  CHARDIN 

Collection:  Architecte  Trouard,  1779,  No.  44.  Jacques  Doucet,  June,  1912, 
No.  135.  Engraved  by  Filloeul.  Reproduced  in  Lady  Dilke  “French  Painters,” 
p.  128;  Revue  de  l’Art  T.  VI,  p.  380;  L.  de  Fourcaud  “Chardin,”  p.  6;  Cata- 
logued Doucet,  and  in  De  Goncourt;  in  “L’Art  au  XVIII  Siecle,”  T.  I,  p.  120;  in 
Boucher  “Chardin,”  pp.  22,  23,  and  J.  Guiffrey,  No.  114.  Exhibited  at  Salon, 
I737(?).  Cited  in  “Gazette  des  Beaux-Arts”  article  by  Lady  Dilke,  1899,  T.  II, 
p.  1 8 1 ; in  Lady  Dilke  “French  Painters,”  pp.  114-116;  in  Revue  de  l’Art,  article 
by  Fourcaud,  1899,  T.  II,  pp.  406-412;  in  L.  de  Fourcaud  “Chardin,”  pp.  30,31; 
in  Ch.  Normand  “Chardin,”  pp.  50,  66. 

Lent  by  Messrs.  Gi7npel  and  Wildenstein  Galleries 


MASTER  OF  LYVERSBERG  ALTAR:  ENTOMBMENT  OF  CHRIST  No.  6l 


CRANACH,  THE  YOUNGER:  PORTRAIT  OF  A LADY 


No.  63 


FRENCH  PAINTING 


39 


LAGRENEE,  L.  [ACTIVE:  MIDDLE 
XVIII  CENTURY]  FRENCH  SCHOOL 

THE  MUSE  OF  PAINTING  AND 

SCULPTURE  No.  89 

On  canvas  h.  30 L*  in.;  w.  23  F6  in. 

Signed  l.  lagrenee,  and  dated  1768 
Lent  by  The  DeMotte  Galleries 


BOUCHER  [1703-1770]  FRENCH  SCHOOL 
FRANgois  boucher:  Born  in  Paris,  1703;  studied  with  Francois 
Le  Moine;  accompanied  Carle  van  Loo  to  Rome  in  1727,  return- 
ing to  Paris  in  1731  completely  unaffected  by  the  works  of  the 
great  old  masters  he  had  seen  there;  appointed  Director  of  the 
Gobelins  in  1755,  and,  upon  the  death  of  Carle  van  Loo,  suc- 
ceeded him  as  Court  Painter;  he  was  a protege  of  Madame  de 
Pompadour,  of  whom  he  painted  several  portraits.  His  facile, 
agreeable  style  is  a typical  reflection  of  the  frivolous  life  of  the 
French  capital  under  Louis  XV ; he  died  in  the  Louvre  on  May  30, 
1770. 

DIANE  ET  ENDYMION  No.  9O 

On  canvas  h.  37  in.;  w.  54  in. 

Endymion,  in  Greek  legend,  a shepherd  of  remarkable  beauty,  who  retired  every 
night  to  a grotto  of  Mount  Latmus  in  Caria.  As  he  slept  the  Goddess  of  the  Moon, 
Selene  (identical  with  Diana),  became  enamored  of  him,  and  leaving  her  chariot 
came  down  to  him.  The  eclipses  of  the  moon  were  attributed  to  these  visits. 
Exhibited:  “L’Art  du  XVIII  Siecle,”  Paris,  Galerie  Georges  Petit,  December, 
1883-January,  1884,  No.  7,  by  Sir  Richard  Wallace.  Catalogued:  “F.  Boucher,” 
by  A.  Michel,  Paris,  1906,  p.  10,  No.  124.  Collection:  Sir  Richard  Wallace,  Bart. 

Lent  by  The  Knoedler  Galleries 


VAN  LOO  [ 1707 - 1771  ] FRENCH  SCHOOL 
louis  michel  van  loo  or  vanloo:  Born  in  Toulon  in  1707; 
pupil  of  his  father,  Jean  Baptiste  van  Loo;  traveled  and  studied 
in  Italy;  made  a member  of  the  Academy  and  appointed  Court 
Painter  to  Philip  V of  Spain;  director  of  The  Royal  School  of 
Arts  for  the  Nobility;  died  in  Paris  in  1771. 


4o 


FRENCH  PAINTING 


PORTRAIT  OF  A CARDINAL  No.  9I 

On  canvas  h.  5434  in.;  w.  41  % in. 

Lent  by  The  Ehrich  Galleries 


VERNET  [1714-1789]  FRENCH  SCHOOL 
claude  Joseph  vernet,  painter  and  etcher:  Born  at  Avignon, 
August  14,  1714;  pupil  of  his  father,  Antoine  Vernet,  and  later 
studied  with  the  marine  painter,  Bernardo  Fergioni,  and  for  a 
while  with  Adrien  Manglard,  Pannini  and  Solimena.  In  his  early 
works  he  affects  the  manner  of  Salvator  Rosa,  and  he  executed 
several  decorations  for  the  Farnese  Gallery  and  the  Ronda  Mini 
Palace  in  this  style;  admitted  to  the  Academy  in  1753;  painted 
a series  of  twenty  pictures  of  French  seaports  for  Louis  XV. 

LES  CASCADES  DE  TIVOLI  No.  92 

On  canvas  h.  41  in.;  w.  31 J4  *'». 

Painted  in  1748  for  M.  Anger  de  Grasse. 

Lent  by  The  Ehrich  Galleries 

GREUZE  [1725-1805]  FRENCH  SCHOOL 
jean  baptiste  Greuze:  Born  at  Tournus,  near  Magon,  in  Bur- 
gundy, August  ai,  1725;  studied  in  the  Paris  Academy;  his  first 
picture,  A Father  Explaining  the  Bible  to  His  Children , achieved 
so  great  a success  that  its  true  authorship  was  for  some  time 
doubted;  in  1755  his  painting  L’ Aveugle  trompe  procured  his 
acceptance  by  the  Academy;  made  a short  sojourn  in  Italy  and 
upon  his  return  continued  to  exhibit  at  the  Academy.  He  was  a 
painter  of  the  bourgeoisie  par  excellence  and  his  middle-life  genre 
attained  a great  vogue  in  his  day.  His  last  years  were  filled  with 
trouble;  he  died  in  poverty  in  Paris,  March  21,  1805. 

THE  RETURN  FROM  THE  INN  No.  93 

On  canvas  h.  28  34  w.  35  % in. 

Collection:  Baron  James  de  Rothschild;  Lyne  Stephens,  London;  Paillet  and 
Comte  d’Arjuzan,  1852;  Laneuville  and  Laterrade,  1858.  Sale:  Marquis  de 
Verri,  1775,  No.  22;  Grimod  de  la  Reynierre,  1792,  No.  27;  Huard,  1836,  No. 
425,  and  Pillot,  1858,  No.  48;  Duval,  London,  1846,  No.  109.  Exhibited  in  i860, 
Boulevard  des  Italiens.  Described  in  “Gazette  des  Beaux-Arts,”  i860,  T.  III. 


No.  66 


VERGOS:  MADONNA  AND  C H I L D,  S U R R O U N D E D BY 
SAINTS  AND  ANGELS 


COELLO:  PORTRAIT  OF  SENORA  DE  MENDOZA  No.  68 


FRENCH  PAINTING 


41 


Reproduced  in  Lyne  Stephens’  Catalogue.  Mentioned  and  catalogued  in  J.  B. 
Martin,  No.  185.  A copy  of  this  picture,  by  Mile.  Ledoux,  Greuze’s  pupil,  is  at 
the  Lille  Museum,  and  a drawing  of  the  woman  and  man,  in  red  chalk,  is  in  the 
Louvre. 

Lent  by  Messrs.  Gimpel  and  Wildenstein  Galleries 


DUPLESSIS  [1725-1802]  FRENCH  SCHOOL 
Joseph  sifrede:  Born  at  Carpentras  near  Avignon  in  1725;  at 
first  destined  for  the  priesthood,  became  the  pupil  of  his  father 
and  later  of  Frere  Imbert;  visited  Rome  in  1745,  studied  there 
under  Subleyras;  upon  his  return  established  himself  in  Paris; 
received  into  the  Academy  in  1774;  losing  his  fortune  in  the 
Revolution,  he  accepted  the  post  of  Conservator  of  the  Museum 
of  Versailles,  where  he  died  in  1802.  He  attained  a high  reputa- 
tion with  his  portraits,  among  which  are  those  of  Gluck  (in  the 
Vienna  Gallery),  Franklin  and  other  notables. 

PORTRAIT  OF  MARQUIS  DE  CHILLON  No.  94 

On  canvas  h.  56^  in.;  w.  44^8  in. 

Collection  of:  Comte  d’Arjuzan. 

Lent  by  Messrs.  Gimpel  and  Wildenstein  Galleries 

PERRONNEAU  [1731-1783?]  FRENCH 
SCHOOL 

jean  baptiste  perronneau:  Born  in  1731;  pupil  of  L.  Cars;  he 
was  chiefly  an  engraver,  engraving  many  plates  after  pictures 
by  Boucher,  Van  Loo  and  others,  while  also  painting  portraits 
both  in  England  and  in  France.  According  to  Siret,  he  died  in 
Amsterdam  in  1783. 

PORTRAIT  OF  MR.  DARCY  No.  95 

On  canvas  h.  28)4]  in.;  w.  22%  in. 

Exhibited  at  the  Paris  Salon  of  1769. 

Lent  by  The  DeMotte  Galleries 


42 


FRENCH  PAINTING 


ROBERT  [1733-1808]  FRENCH  SCHOOL 
Hubert  Robert,  frequently  called  Robert  des  Ruines,  painter 
and  engraver:  Born  in  Paris,  1733;  died  there  in  1808;  spent 
several  years  in  Italy  studying  and  making  accurate  drawings  of 
the  remains  of  ancient  architecture;  was  imprisoned  during  the 
French  Revolution  and  escaped  the  guillotine  through  a mistake 
of  his  jailer. 

RUINS  NEAR  ROME  No.  9 6 

On  canvas  h.  50  in.\  w.  40  in. 

Lent  by  The  Ehrich  Galleries 


VESTIER  [1740-1824]  FRENCH  SCHOOL 
antoine  vestier,  portrait  painter:  Born  at  Avallon  (Yonne) 
in  1740;  became  an  Academician  in  1786;  traveled  several  years 
in  England  and  Holland,  settling  in  Paris  upon  his  return  in  1764; 
married  the  daughter  of  Reverand,  the  enameler,  who  appears 
to  have  influenced  him  to  execute  a few  enamels  while  continuing 
to  practice  his  profession  of  portrait  painting.  He  died  in  Paris, 
December  24,  1824. 

PORTRAIT  OF  THE  ARTIST’S  DAUGHTER  No.  97 

On  canvas  h.  21  w.  18  in. 

From  the  Magnan  Collection  of  Nancy. 

Lent  by  The  Ehrich  Galleries 


DAVID  [1748-1825]  FRENCH  SCHOOL 
jacques  louis  david:  Born  in  Paris  August  30, 1748;  worked  in 
the  studio  of  Vien,  a leader  of  the  Neo-classicists;  entered  the 
Academy  in  1766;  won  the  Prix  de  Rome  in  1774;  remaining  in 
Italy  until  1780;  by  1789  he  had  become  the  most  famous  and 
influential  painter  in  France,  and  during  the  Revolution  was 
elected  President  of  the  Convention  with  practically  unlimited 
power  of  life  and  death,  which  he  used  to  destroy  his  old  enemies, 
whom  he  had  indicted  as  aristocrats — which,  however,  did  not 
prevent  him  from  later  paying  assiduous  court  to  Napoleon,  who 
made  him  a Chevalier  and  finally  a Commander  of  the  Legion  of 


EL  GRECO*.  JESUS  IN  THE  HOUSE  OF  SIMON 


zurbaran:  portrait  OF  MIGUEL  del  pozo 


FRENCH  PAINTING  43 

Honor;  after  Waterloo  he  withdrew  to  Brussels,  where  he  died 
on  December  29,  1825. 

PORTRAIT  OF  MADAME  DE  SERVAN  No.  98 

On  canvas  h.  56  3 2 in .;  w.  44  in. 

Collection  of:  Herdebault  Harris,  descendant  of  De  Servan.  Exhibited:  Leipsic, 
1910,  No.  294;  Exhibition  of  French  Art;  Exhibition  Universale,  Rome,  191 1. 

Lent  by  Messrs.  Gimpel  and  Wildenstein  Galleries 

PORTRAIT  OF  MADAME  PECOUL  No.  99 

On  canvas  h.  35  ys  in w.  28  in. 

Lent  by  The  DeMotte  Galleries  ' 

PORTRAIT  OF  M.  PECOUL  No.  IOO 

On  canvas  h.  36  in.;  w.  28  in. 

These  two  very  characteristic  paintings  by  David  are  portraits  of  his  father-in- 
law  and  mother-in-law,  painted  for  his  brother-in-law,  M.  Serizia,  from  whom 
they  were  secured;  he  painted  the  same  subjects  twice,  the  other  pair  being  in 
the  Louvre,  in  the  Salon  Carre. 

Lent  by  The  DeMotte  Galleries 
MYTHOLOGICAL  SUBJECT 

(chalk  drawing) 

On  paper  h.  26  in.;  w.  22  in. 

Lent  by  The  DeM otte  Galleries 

MYTHOLOGICAL  SUBJECT 

(chalk  drawing) 

On  paper  h.  26  in.;  w.  22  in. 

Lent  by  The  DeMotte  Galleries 

LE  BRUN  [1755-1842]  FRENCH  SCHOOL 
marie  louise  Elizabeth  le  brun,  whose  maiden  name  was 
Vigee,  hence  known  as  Mme.  Vigee  Le  Brun:  Born  in  Paris  in 
1755;  studied  with  Davesne  and  Briard  and  was  advised  by 
Joseph  Vernet;  painted  her  mother’s  portrait  at  the  age  of  fifteen 
and  the  first  portrait  of  Marie  Antoinette  in  1779,  after  which 
she  painted  not  less  than  twenty-five  portraits  of  her.  She 
painted  most  of  the  notable  people  of  her  time.  Died  in  Paris  in 
1842. 


No.  101 


No.  102 


44 


FRENCH  PAINTING 


CHILD  OF  THE  LABADYE  FAMILY  No.  1 03 

On  canvas  h.  25%  in.;  w.  21  in. 

Collection  of  Comtesse  de  Labadye 

PORTRAIT  OF  COUNTESS  KINSKI  No.  IO4 

On  canvas  h.  28  in.;  w.  23  in. 

Wife  of  the  Austrian  Ambassador  at  the  Court  of  Louis  XVI.  She  occupied  one 
of  the  most  prominent  positions  among  the  women  of  her  day.  Described  in 
W.  H.  Helm’s  book  on  Mme.  Le  Brun,  Edition  de  Luxe,  London. 

Lent  by  The  Ehrich  Galleries 

LA  COMTESSE  DE  PROVENCE  No.  I05 

On  canvas  h.  2°%  in.;  w.  24^  in. 

Signed  l.  le  brun,  f.  Dated  1782 

Inscribed  on  the  back:  “Original  de  Mme.  Le  Brun  donne  par  le  roi  Louis 
XVIII  en  1815  a M.  le  Marquis  de  Crux  ancien  ecuyer  commandant  l’ecurie 
de  la  Reine  Mdme.  la  Duchesse  de  Provence.”  Reproduced:  In  W.  H.  Helm, 
p.  48a.  Mentioned:  In  W.  H.  Helm,  p.  43.  Catalogued:  In  W.  H.  Helm.  Sale: 
1783.  Paris  Exhibition  of  “Marie  Antoinette  and  Her  Time,”  Galerie  Sedel- 
meyer,  1894.  Collection:  Comte  A.  de  la  Rochefoucauld. 

Lent  by  Messrs.  Gitnpel  and  Wildenstein  Galleries 

DUVIVIER  [FLOURISHED:  BETWEEN 
1786  AND  1824]  FRENCH  SCHOOL 
mlle.  aimee  duvivier,  XVIII  Century  French  portrait  painter; 
flourished  between  1786  and  1824.  She  attained  a considerable 
vogue  in  her  day,  painting  portraits  of  various  notables,  of  which 
the  one  shown  here  is  a characteristic  example.  She  participated 
in  the  exhibitions  of  younger  painters,  1786-87.  After  her  death 
an  exhibition  of  her  works  was  held  in  the  Louvre,  1791-1824. 

PORTRAIT  OF  THE 

MARQUIS  D’ACQUEVILLE  No.  I06 

On  canvas  h.  48  in.;  w.  36  in. 

Signed  aimee  du  vivier.  Dated  1791 

Illustrated  with  article  in  the  Burlington  Magazine,  Vol.  XXIV,  page  307;  also 
in  article  on  Duvivier  in  Vol.  XXV,  p.  61.  Illustrated  in  Les  Arts,  1909,  No. 
96,  p.  21.  Collection  of:  Marquise  douairiere  de  Ganay  nee  Ridgway,  grand- 
daughter of  the  Marquis. 

Lent  by  The  Ehrich  Galleries 


BRITISH  PAINTING 


45 


WILSON  [1714-1782]  ENGLISH  SCHOOL 
richard  wilson,  r.  a.:  Born  at  Pinegas,  Montgomeryshire; 
studied  with  Thomas  Wright,  an  obscure  portrait  painter;  his 
first  paintings  were  portraits,  his  talents  for  landscape  being  dis- 
covered by  Zuccarelli  and  Vernet  during  his  visit  to  Italy;  was 
one  of  the  thirty-six  founders  of  the  Academy  in  1768;  the 
figures  in  his  landscapes  are  most  often  painted  by  J.  Hamilton 
Mortimer  and  Francis  Hayman. 

CICERO  AND  HIS  TWO  FRIENDS,  ATTICUS 
AND  QUINTUS,  AT  HIS  VILLA  AT 

ARPINUM  No.  107 

On  canvas  h.  34  in.;  w.  42  in. 

Exhibited  at  The  Royal  Academy  in  1770  (No.  201). 

Lent  by  The  Ehrich  Galleries 


REYNOLDS  [1723-1792]  ENGLISH  SCHOOL 
sir  joshua  Reynolds,  p.  r.  a.:  Born  July  16,  1723,  at  Plympton 
Earl,  Plymouth;  was  unusually  precocious,  making  drawings  at 
the  age  of  seven,  and  at  the  age  of  seventeen  was  placed  under 
Thomas  Upton,  a well-known  portrait  painter;  spent  three  years 
in  Italy  studying  the  old  masters  (1749-52)  after  which  he 
settled  in  London,  where  he  became  the  most  highly  esteemed 
portrait  painter  of  his  day;  elected  first  President  of  the  Royal 
Academy  1768,  and  knighted  by  George  III;  buried  in  St.  Paul’s 
Cathedral  on  March  3,  1792,  nine  days  after  his  death. 

PORTRAIT  OF  WHITE,  THE  PAVIOR  No.  IOB 

On  canvas  h.  30^  in.;  w.  25)4  in. 

Lent  by  The  Ehrich  Galleries 

CARICATURE  OF  JOHNSON,  TOTTEN 
BEAUCLERK,  BENNETT  LANGTON  AND 
REYNOLDS  HIMSELF  No.  IO9 

On  canvas  h.  25  in.;  w.  30  in. 

Painted  in  Rome,  1753. 

Lent  by  The  Ehrich  Galleries 


46 


BRITISH  PAINTING 


SELF  PORTRAIT  No.  IIO 

On  canvas  h.  23 in-',  w.  19  in. 

Lent  by  The  Ehrich  Galleries 

SELF  PORTRAIT  No.  Ill 

On  canvas  h.  29  in w.  24  in. 

Listed  in  “History  of  the  Works  of  Sir  Joshua  Reynolds,”  by  Algernon  Graves 
and  William  Vine  Cronin,  Vol.  II,  p.  809  (London,  1899).  Exhibited  in  The  Royal 
Academy  in  1790.  Collection  of:  R.  G.  Gwatkin  of  The  Manor  House,  Potterne, 
Devizes. 

Lent  by  The  Ehrich  Galleries 


COTES  [1726-1770]  ENGLISH  SCHOOL 
francis  cotes: Born  in  London  ini726;died  there  in  the  prime  of 
life  on  July  20,  1770.  He  was  one  of  the  most  distinguished  por- 
trait painters  of  his  time,  his  work  being  preferred  by  Hogarth  to 
that  of  Reynolds,  and  Walpole  speaks  admiringly  of  him  in  his 
“Anecdotes  of  Painting.”  He  was  the  pupil  of  George  Knapton,  a 
local  celebrity.  Cotes  was  one  of  the  original  thirty-six  members 
founding  the  Royal  Academy  in  1768,  and  one  of  its  most  fre- 
quent and  prolific  exhibitors. 

PORTRAIT  OF 

MR.  AND  MRS.  JOAH  BATES  No.  112 

On  canvas  h.  52  in.\  w.  60  in. 

Mr.  Bates  conducted  the  first  Handel  Festival  held  in  Westminster  Abbey  in 
the  year  1784,  centenary  of  the  composer’s  birth,  and  his  wife,  Sarah  Harrod, 
may  be  regarded  as  one  of  the  greatest  of  English  vocalists.  The  painting  was 
formerly  the  property  of  the  Sacred  Harmonic  Society  and  is  rightly  considered 
one  of  Cotes’  finest  works.  Special  mention  is  made  of  it  in  Bryan’s  Dictionary 
of  Painters  and  Engravers  (Revised  Edition,  London,  1904). 

Lent  by  The  Ehrich  Galleries 


GAINSBOROUGH  [1727-1788]  ENGLISH 
SCHOOL 

thomas  Gainsborough:  Born  at  Sudbury,  1727,  the  youngest 
son  of  John  Gainsborough,  a clothier.  At  the  age  of  fifteen 
Thomas  was  apprenticed  to  a silversmith  in  London,  later 


DE  MIRANDA:  SELF  PORTRAIT 


No.  78 


GOYA:  PORTRAIT  OF  DON  RAMON  DE  POSADA  Y SOTO 


No.  8o 


BRITISH  PAINTING 


47 


studying  drawing  with  Hubert  Gravelot,the  engraver,  and  finally 
with  Francis  Hayman  in  Martin’s  Lane  Academy.  After  some 
fifteen  years  spent  in  Ipswich  and  Bath  he  established  himself 
in  London,  where  he  soon  became  the  rival  of  Reynolds,  kings, 
princes  and  leaders  of  the  nobility  vying  with  one  another  for 
the  favor  of  sitting  to  him.  He  was  one  of  the  thirty-six  original 
members  founding  the  Royal  Academy  in  1768.  He  excelled  as  a 
landscape  painter  as  well  as  a portrait  painter. 

THE  EDGE  OF  THE  COMMON  No.  II3 

On  canvas  h.  25  in.;  w.  30  in. 

Mentioned  in  Sir  Walter  Armstrong’s  book  on  Thomas  Gainsborough,  p.  283 
(New  York,  1914). 

Lent  by  The  Ehrich  Galleries 
PORTRAIT  OF 

HON.  MRS.  WM.  DAVENPORT  No.  II4 

On  canvas  h.  30  in.;  w.  25  in. 

Latter  part  of  half-obliterated  inscription  in  lower  left-hand  corner 
reads  wife  of  hon.  william  davenport 
“This  picture  is  the  gem  of  the  Lacock  Abbey  Collection,  and  is  considered  to 
be  the  finest  known  example  of  Gainsborough’s  portraiture  of  this  period.  It 
was  painted  when  the  artist  lived  in  Bath.  It  had  never  been  cleaned,  varnished 
or  relined,  and  is  therefore  in  as  perfect  condition  as  possible.  The  treatment  of 
the  white  satin  dress  was  not  surpassed  by  the  artist  in  any  work  of  this  period 
of  his  career.” 

Lent  by  The  Ehrich  Galleries 
PORTRAIT  OF 

MRS.  COCKBURN  OF  ROWCHESTER  No.  I I 5 

On  canvas  h.  30  in.;  w.  25  in. 

From  direct  descendants. 

Lent  by  The  Ehrich  Galleries 

CHILDREN  IN  THE  WOODS  No.  I I 6 

On  canvas  h.  39  in.;  w.  49^8  in. 

Lent  by  The  DeM otte  Galleries 


48 


BRITISH  PAINTING 


ROMNEY  [1734-1802]  ENGLISH  SCHOOL 
george  romney,  portrait  and  figure  painter:  Born  at  Walton-le- 
Furness,  Lancashire,  on  the  15th  of  December,  1734;  appren- 
ticed to  the  eccentric  portrait  painter  Christopher  Steele,  who 
neglected  him;  at  first  painted  historical,  mythological  and  land- 
scape compositions  as  well  as  portraits.  In  1762  he  established 
himself  in  London,  where  he  soon  became  the  rival  of  Reynolds 
in  the  esteem  of  the  elite  of  the  town,  who  thronged  his  studio. 
Painted  innumerable  portraits  of  Lady  Hamilton  during  the  nine 
years  of  their  friendship. 

PORTRAIT  OF  LADY  HAMILTON  No.  II7 

On  canvas  h.  23  w.  21  in. 

Lent  by  The  Ehrich  Galleries 


RAEBURN  [1756-1823]  SCOTTISH  SCHOOL 
sir  henry  raeburn,  r.  a.:  Born  at  Stockbridge,  a suburb  of 
Edinburgh,  March  4,  1756;  apprenticed  to  an  Edinburgh  gold- 
smith and  later  received  some  instruction  and  encouragement 
from  the  portrait  painter  David  Martin,  and  is  also  said  to  have 
worked  for  a few  weeks  in  the  studio  of  Reynolds;  spent  two 
years  in  Italy  studying  the  old  masters;  elected  an  Associate  of 
the  Academy  in  1812,  and  made  an  Academician  in  1815,  and 
knighted  in  1822;  died  in  Edinburgh  July  8,  1823. 

PORTRAIT  OF  REV.  JAMES  LINDSAY  No.  I I 8 

On  canvas  h.  36  in .;  w.  27  J4  in. 

Minister  of  Kirkliston,  Linlithgowshire;  born  1711,  died  1796.  Exhibited:  By- 
Rev.  W.  Lindsay  Alexander,  D.  D.,  in  the  Raeburn  Exhibition,  1876.  Listed  in 
“Life  and  Works  of  Sir  Henry  Raeburn,”  by  James  Greig,  p.  51  (London, 
“Connoisseur,”  1911). 

Lent  by  The  Ehrich  Galleries 
PORTRAIT  OF 

PROFESSOR  ANDREW  DALZEL  No.  II9 

On  canvas  h.  49 % in.;  w.  39  in. 

Painted  1797  or  1798,  according  to  a label  on  the  back  of  the  picture 
An  eminent  scholar,  born  October  6,  1742,  at  Kirkliston,  Linlithgowshire;  edu- 
cated at  Edinburgh  University;  professor  of  Greek  in  the  University  of  Edin- 


le  nain:  the  proletariat  No.  84 


1 


WATTEAU:  THE  TRIUMPH  OF  COI.OMBINF,  No. 


BRITISH  PAINTING 


49 


burgh,  1779-1805;  principal  clerk  to  the  General  Assembly  of  the  Church  of 
Scotland,  1789;  resigned  his  professorial  chair  in  1805,  and  died  December  8, 
1806.  Engraved  by  R.  C.  Bell,  as  frontispiece  to  Cosmo  Innes’ “Memoirs  of 
Dalzel,”  the  first  volume  of  Dalzel’s  “History  of  the  University  of  Edinburgh.” 
There  is  another  portrait  of  this  same  person  in  the  Scottish  National  Portrait 
Gallery.  Collection  of:  the  late  Surgeon  Major  W.  F.  B.  Dalzel,  the  grandson  of 
Andrew  Dalzel. 

Lent  by  The  Knoedler  Galleries 

THE  REV.  DAVID  CAMPBELL  No.  120 

On  canvas  h.  35%  in.;  w.  in. 

Painted  1 792 

Exhibited:  “Dickens  Centenary  Exhibition  of  Old  Masters,”  New  York,  New 
Allom  Galleries,  1912,  No.  8,  by  Reginald  Grundy,  Esq.  The  catalogue  says  that 
“in  an  interesting  letter,  still  extant,Mr.  Campbell,  the  son  of  the  clergyman, men- 
tions that  his  father,  at  the  time  of  writing,  was  sitting  for  the  picture.”  Inaugural 
Exhibition,  Cleveland  Museum  of  Art,  1916.  Reproduced  in  “The  Connois- 
seur,” April,  1912  (No.  128),  p.  222,  and  mentioned  there  in  an  article  on  the 
Dickens  Centenary  Exhibition,  on  p.  230.  Collections:  A.  W.  Montgomery 
Campbell,  Dymock  Glos.  Reginald  Grundy,  Esq. 

Lent  by  The  Knoedler  Galleries 


CROME  [1768-1821]  ENGLISH  SCHOOL 
john  crome,  called  “Old  Crome,”  to  distinguish  him  from  his 
eldest  son,  John  Bernay  Crome,  who  was  also  a painter:  Born 
in  a small  public  house  in  Norwich  on  December  22,  1768.  He 
was  apprenticed  for  seven  years  to  a coach  and  sign  painter  and 
later  received  valuable  suggestions  and  encouragement  from  Sir 
William  Beechey.  He  was  a great  admirer  of  the  XVII  Century 
Dutch  landscape  painters,  who  influenced  his  style  considerably, 
and  his  last  words  uttered  on  his  deathbed  are  said  to  have  been, 
“Hobbema,  my  dear  Hobbema,  how  I have  loved  you!”  He 
was  the  founder  of  the  Norwich  Society  of  Painters  in  1803. 

LANDSCAPE  No.  121 

On  wood  h.  23  in.;  w.  31  in. 

Lent  by  The  Ehrich  Galleries 


5° 


BRITISH  PAINTING 


LAWRENCE  [1769-1830]  ENGLISH  SCHOOL 
sir  thomas  Lawrence:  Born  at  Bristol  May  4,  1769,  son  of  an 
English  solicitor,  who  later  became  an  innkeeper.  He  developed 
an  early  talent  for  art  which  brought  him  under  the  favorable 
notice  of  Reynolds,  whom  he  eventually  succeeded  as  Court 
Painter  upon  the  latter’s  death.  He  was  a favorite  of  royalty  and 
of  the  elite  in  the  social  and  intellectual  world  of  London.  Be- 
sides being  knighted  he  was  made  a Chevalier  of  the  Legion  of 
Honor  and  was  the  recipient  of  numerous  honors  from  the  fore- 
most Academies  in  Europe.  He  died  on  January  7, 1830,  and  was 
interred  with  great  pomp  and  ceremony  in  St.  Paul’s  Cathedral. 

PORTRAIT  OF  LADY  FALCONER-ATLEE  No.  122 
On  canvas  h.  2°Vs  in.;  w.  24%  in. 

Lent  by  The  DeMotte  Galleries 

PORTRAIT  OF  SIR  FALCONER-ATLEE  No.  I 23 

On  canvas  h.  30  in.;  w.  24%  in. 

Lent  by  The  DeMotte  Galleries 

PORTRAIT  OF 

GEORGE  ROGERS  BARRETT  No.  I 24 

On  canvas  h.  30  in.;  w.  25  in. 

From  the  collection  of  Lieut.-Colonel  Boyd  Hamilton  of  Brandon,  Suffolk, 
England.  The  subject  of  the  above  portrait,  George  Rogers  Barrett,  born  in 
1781,  belongs  to  a family  famous  in  the  social  and  political  history  of  London 
during  the  XVIII  and  early  XIX  centuries. 

Lent  by  The  Ehrich  Galleries 


TURNER  [1775-1851]  ENGLISH  SCHOOL 

JOSEPH  MALLORD  WILLIAM  TURNER,  R.  A.:  Bom  April  23,  1 775, 
London,  son  of  a barber;  exact  facts  concerning  his  boyhood  and 
youth,  with  whom  he  studied,  etc.,  are  still  a subject  of  con- 
troversy. It  is  known  that  he  colored  prints  for  J.  R.  Smith  and 
backgrounds  for  architects  and  copied  drawings  by  Paul  Candby, 
and  it  is  said  he  also  made  copies  in  Reynolds’  studio;  he  ex- 
hibited at  the  Royal  Academy  a watercolor  as  early  as  1790,  at 
the  age  of  fifteen,  and  by  1793-94  was  launched  actively  on  his 


CHARDIN:  THE  CARD  BUILDER 


BOUCHER:  DIANE  ET  ENDYMION  No.  90 


BRITISH  PAINTING 


51 


career,  his  earliest  work  being  almost  entirely  in  watercolor;  in 
1799  he  was  elected  an  Associate  of  the  Royal  Academy,  at  the 
age  of  twenty-five,  and  three  years  later  was  elected  Academician, 
after  which  he  traveled  and  painted  in  Europe  through  France 
and  Switzerland  and  up  the  Rhine;  later  he  visited  Italy,  where 
he  painted  his  famous  Venetian  series,  the  most  revolutionary 
landscapes  painted  up  to  that  time;  he  was  one  of  the  most  orig- 
inal geniuses  in  the  art  of  the  nineteenth  century,  exerting  a 
powerful  influence  on  his  contemporaries  as  well  as  upon  latter- 
day  painters,  especially  the  French  Impressionists,  who  derive 
directly  from  him;  he  died  in  1851  and  was  buried  beside  Sir 
Joshua  Reynolds,  in  the  Crypt  of  St.  Paul’s. 

THE  ANCIENT  CITY  No.  125 

On  canvas  h.  19^2  in.’,  w.  26%  in. 

Lent  Anonymously. 

PRINCE  OF  ORANGE 

LANDING  AT  TORBAY  No.  I 26 

On  canvas  h.  2734  in.;  w.  3534  in. 

Lent  Anonymously. 

SELF  portrait: 

TURNER  AS  A YOUNG  MAN  No.  I 27 

On  canvas  h.  16 34  in.;  w.  1334  in. 

The  three  foregoing  characteristic  examples  of  three  periods  in  Turner’s  art  were 
continuously  in  the  possession  of  the  English  family  who  purchased  them  direct 
from  the  artist  until  recently  acquired  by  an  American  collector;  they  have 
never  before  been  exhibited  anywhere. 

Lent  Anonymously. 

CONSTABLE  [1776-1837]  ENGLISH  SCHOOL 
john  constable:  Born  at  East  Bergholt  in  Suffolk  on  June  11, 
1776,  the  son  of  Golding  Constable,  a well-to-do  miller.  He  is  gen- 
erally regarded  as  one  of  the  greatest  realistic  landscape  painters 
of  England,  and,  together  with  Turner,  as  the  father  of  modern 
landscape  painting,  exerting  a decisive  influence  in  shaping  the 
trend  of  modern  French  art  through  the  Impressionists,  who  were 
inspired  to  their  out-of-door  realism  by  the  works  of  these  two 


BRITISH  PAINTING 


English  innovators.  After  considerable  parental  opposition,  he 
was  permitted  to  enter  the  School  of  the  Royal  Academy.  At  first 
he  painted  some  portraits  and  essayed  several  historical  subjects, 
and  even  painted  two  altarpieces.  His  art  was  a distinct  depar- 
ture from  the  pseudo-classical  style  then  in  vogue. 

A COTTAGE  No.  128 

On  canvas  h.  18  in.;  w.  23  in. 

Signed  jon.  constable,  f.  Dated  1817 

Mentioned  in  C.  R.  Leslie’s  book,  “ Memoirs  of  the  Life  of  John  Constable,” 
page  77  (2d  edition,  London,  1845).  Exhibited  in  The  Royal  Academy  in  1817. 

Lent  by  the  Ehrich  Galleries 

STOKE  BY  NAYLAND,  SUFFOLK  No.  I 29 

On  canvas  h.  26  in.;  w.  36  in. 

Engraved  by  David  Lucas  in  English  Landscape  Scenery  from  “Pictures  painted 
by  John  Constable  R.  A.”  Exhibited:  Royal  Academy, by  Sam  Mendel, England, 
in  1872;  Brussels  in  1873.  Collections  of:  John  W.  Wilson,  Paris,  1873;  Sir  Audley 
Neeld,  Bart.,  Grittleton  House,  England;  Clifton  Shield,  Esq.,  London;  Charles 
E.  Locke,  Esq.,  New  York.  Described  in  the  Catalogue  of  John  W.  Wilson  p.13. 

Lent  by  The  Kleinberger  Galleries 


HARLOW  [1787-1819]  ENGLISH  SCHOOL 
george  henry  harlow,  portrait  and  historical  painter:  Born 
in  London  in  1787,  and  died  there  in  1819  at  the  age  of  32.  He 
studied  first  with  the  landscape  painter  Hendrik  De  Cort  and 
later  under  Samuel  Drummond,  and  finally  came  under  care  of 
Sir  Thomas  Lawrence  for  a brief  space.  He  was  a painter  of  his- 
torical subjects  as  well  as  portraits  which  became  enormously 
popular  in  his  day. 

PORTRAIT  OF 

A LADY  WITH  PARROT  No.  I3O 

On  canvas  h.  94 J4  w.  58  Yi  in. 

Collection  of:  Count  Stanislas  de  Castellane,  of  Paris. 

Lent  by  The  Ehrich  Galleries 


EXPLANATORY  NOTE 
ON  TECHNIQUE,  ON  ALTARPIECES,  AND 
THE  PREPARATION  & PAINTING 
OF  A PANEL 

* 


The  following  brief  notes  on  different  kinds  of  painting,  culled 
from  the  recently  published  catalogue  of  the  Fogg  Museum,  Cam- 
bridge, Mass.,  may  be  found  useful  to  those  visiting  this  Exhibition: 

“The  difference  between  the  different  kinds  of  painting  is 
largely  the  difference  between  the  different  kinds  of  medium  used 
to  bind  the  pigment.  In  all  cases  there  is  pigment,  which  is  color 
in  the  form  of  powder.  In  fresco  the  pigment  is  mixed  with  water 
and  laid  upon  wet  plaster.  As  the  plaster  dries  a chemical  action 
takes  place  whereby  the  particles  of  pigment  are  bound  to  the 
surface  of  the  wall.  Fresco  a Secco  is  the  method  of  retouching 
fresco  with  tempera  after  the  plaster  has  dried.  In  Water  Color 
the  pigment  is  mixed  with  gum  arabic  or  other  gum,  in  Illumi- 
nation with  egg  and  gum  usually,  in  Oil  Painting  with  oil,  and 
in  Tempera  with  egg  or  with  glue. 

“It  is  not  always  easy  to  describe  the  exact  process  by  which 
a picture  was  painted.  The  so-called  Oil  Painting  of  the  early 
Flemish  Masters  was  introduced  into  Venice,  according  to 
Vasari,  by  Antonello  da  Messina.  The  first  Venetian  Masters  to 
adopt  the  new  method  used  it  in  a way  not  dissimilar  to  the 
manner  of  the  Flemings.  Titian  and  the  later  Venetians  de- 
veloped a freer  and  broader  manner,  just  as  Rubens  and  the 
seventeenth-century  Flemish  Masters  did  in  the  North. 

“There  is  a tradition  that  Baldovinetti  and  other  masters 
were  dissatisfied  with  the  tempera  technique  and  experimented 
with  the  oil  medium  before  the  approved  Flemish  method  was 
introduced  into  Italy.  Vasari  says  that  the  Flemish  method  was 
introduced  into  Florence  by  Domenico  Veneziano,  who  used  oil 
in  paintings  in  Santa  Maria  Nuova,  1439-1445.  But  it  may  be 
fairly  assumed  as  a general  rule  that  any  panel  painted  before 
the  middle  of  the  fifteenth  century  in  Italy  was  executed  in 
tempera.  The  difficulty  is  to  determine  the  exact  process  during 


54 


EXPLANATORY  NOTE 


the  last  decades  of  the  fifteenth  and  the  first  part  of  the  six- 
teenth century  when  the  Italian  masters  were  gradually  chang- 
ing from  the  use  of  tempera  to  the  use  of  oil.  It  is  probable  that 
many  of  the  pictures  painted  in  this  period  contained  both 
tempera  and  oil  paint. 

“The  later  Renaissance  painters  in  oil  developed  certain  pecu- 
liarities, especially  noticeable  in  Sienese  painting,  such  as 
Chiaroscuro,  Morbidezza,  and  Sfumatura.  Chiaroscuro , literally 
meaning  light  dark,  is  used  to  denote  light  and  shade.  By  the 
Italians  the  term  is  used  especially  with  reference  to  the  model- 
ing of  surface  obtained  by  the  use  of  light  and  shade.  Morbidezza , 
literally  meaning  softness,  mellowness  of  tint,  is  a term  used 
especially  to  indicate  the  softness  and  transparency  of  flesh 
texture  obtained  by  certain  masters,  notably  by  Correggio  and 
Leonardo,  partly  by  melting  edges  and  suppression  of  sharp 
contoufs.  Sfumatura,  literally,  means  smokiness.  This  term  in  its 
significance  is  not  very  different  from  Morbidezza.  It  is  em- 
ployed to  express  the  way  in  which  one  field  melts  into  another 
without  sharp  edges,  and  the  modeling  moves  from  light  to 
shadow  as  gently  and  imperceptibly  as  smoke. 

“The  method  of  preparing  a panel  is  elaborately  described 
by  Cennino  Cennini,  who  wrote  in  the  late  fourteenth  or  early 
fifteenth  century.  Poplar,  and  less  often  lime  and  willow,  were 
used  by  the  Italians,  and  oak  by  the  masters  of  the  northern 
schools.  The  early  Venetians  are  said  to  have  used  German  fir. 

“The  panel,  if  made  of  several  pieces,  was  doweled  together 
and  the  joints  covered  with  strips  of  linen.  Sometimes  the  whole 
panel  was  covered  with  linen  or  more  rarely  with  parchment. 
After  that  a coat  of  gesso,  composed  of  whitening  (chalk)  or 
plaster  of  paris  mixed  with  glue,  was  laid  on  the  panel.  The 
design  was  then  sketched  on  with  a needle  fixed  into  a small 
stick,  and  the  outlines  of  the  figures  which  came  against  such 
parts  of  the  background  as  were  to  be  covered  with  gold,  were 
engraved.  The  parts  of  the  panel  which  were  to  be  gilded  were 
covered  with  a coat  of  Armenian  bole,  a reddish  clay,  mixed  with 
white  of  egg.  Cennino  instructs  the  artist  to  cover  the  whole 
panel  with  gold  if  he  can  afford  it.  This  was  sometimes  done, 
though  gold  was  more  often  laid  on  where  it  was  actually  visible. 


R E U Z E : THE  RETURN  FROM  T H F.  INN 


DUPLESSIS:  PORTRAIT  OF  MARQUIS  DE  CHILLON 


No.  94 


EXPLANATORY  NOTE 


55 


In  either  event,  the  system  was  more  akin  to  the  transparent 
water-color  system  than  to  painting  in  oil  with  a thick  impasto, 
because  the  brilliancy  of  the  white  or  gold  ground  shining  through 
the  paint  produced  an  effect  of  clarity  and  unity  in  the  colors. 
When  these  processes  were  completed  the  panel  was  ready  for 
painting.  The  first  stage  of  the  tempera  painting  was  the  model- 
ing of  the  faces  and  the  shadows  of  the  draperies  in  terra  verde, 
a green  earth,  mixed  with  yolk  of  egg  as  a medium,  then  the  suc- 
cessive coats  were  laid  on  the  panel  according  to  definite  rules 
until  the  final  effect  was  reached.  Thus  in  the  flesh  tones  red  and 
yellow  paint  superimposed  on  the  green  under-painting  would 
produce  a result  neither  too  warm  nor  too  cold.  The  modern 
painter  as  a rule  gets  his  balance  of  colors  by  placing  the  dif- 
ferent tints  side  by  side  instead  of  one  on  top  of  the  other. 

“For  the  painting  of  draperies  Cennino  directs  the  artist  to 
get  three  vases  and  mix  three  shades  of  color,  red,  or  whatever 
it  may  be,  after  that  to  put  in  the  darks,  then  the  half  tones  and 
then  the  light,  and  finally  work  up  to  the  highest  lights  with 
pure  white.  The  results  of  this  method  may  be  seen  in  the  ma- 
jority of  the  pictures  in  the  Italian  section  of  this  Exhibition. 
The  strongest  color  is  in  the  half  tones  and  shadows;  and  the 
highest  lights,  which  were  originally  probably  nearly  white,  in 
many  cases  have  mellowed  with  age  to  a warm  golden  tone. 
Occasionally  the  color  was  modeled  in  the  light  to  yellow  in- 
stead of  white.  The  paintings  in  this  Exhibition  by  Flemish, 
German  and  Venetian  masters  may  be  characterized  in  general 
in  a different  way.  These  later  artists  tended  to  have  the  strong- 
est color  in  the  lights  and  to  neutralize  the  shadows.” 

“The  typical  altarpiece  of  the  fourteenth  and  fifteenth  cen- 
turies was  in  general  made  up  of  different  compartments  or 
panels.  The  central  panel  contained  the  chief  scenes  or  figures. 
On  either  side  were  wings  on  which  were  represented  subsidiary 
scenes  or  figures  of  saints.  Frequently  scenes  or  figures  were 
painted  on  the  outside  of  the  wings,  which  then  folded  as  shutters 
over  the  central  panel.  Above  the  large  panels  were  gables  or 
pinnacles,  usually  containing  half-length  single  figures — saints, 
prophets  or  angels,  a representation  of  God  the  Father  or  God  the 
Son,  or  often  the  Virgin  or  the  Angel  of  the  Annunciation.  Heads 


EXPLANATORY  NOTE 


56 

of  saints  were  frequently  introduced  into  small  circular  or  oval 
panels,  called  medallions,  or  panels  shaped  like  a clover-leaf, 
called  trefoils  or  quatrefoils,  according  to  the  number  of  arcs.  At 
the  base  of  the  central  panel  and  the  wings  was  the  predella,  of 
small  divisions  or  compartments,  in  which  were  represented 
scenes  which  had  some  bearing  on  the  main  panels — scenes  from 
the  life  of  Christ,  or  scenes  connected  with  the  lives  of  the  saints, 
their  miracles  and  martyrdoms. 

“An  altarpiece  of  two  panels  which  folded  together  like  a book 
was  called  a diptych.  A triptych  is  an  altarpiece  of  three  divisions, 
the  two  wings  often  closing  over  the  main  panel,  such  as  the 
Triptych  by  De  Bles  and  the  late  fifteenth-century  German 
Triptych  in  this  exhibition.  An  altarpiece  of  more  than  three 
divisions  was  called  a polyptych.  In  Eastlake’s  ‘History  of  Oil 
Painting’  the  following  note  is  given:  ‘The  practice  of  enclosing 
pictures  in  cases  with  doors  is  to  be  traced  to  the  use  of  portable 
altarpieces.  The  above  terms  were  originally  applied  to  the  use  of 
books  ( libelli ) composed  of  a few  tablets  or  leaves,  generally  of 
ivory.  The  more  ornamented  kinds  were  called  simply  diptychs, 
because  they  consisted  of  ivory  covers  only,  in  which  leaves  of  the 
same  substance  or  of  vellum  might  be  inserted.  . . . The  consu- 
lar diptychs,  for  example,  were  nothing  more  than  ivory  covers 
in  which  the  book,  or  libellus,  itself  might  be  enclosed.  They  were 
presents  distributed  by  the  consul  upon  entering  office,  and 
generally  exhibited  the  portrait  and  titles  of  the  new  dignitary  on 
one  side,  and  a mythological  subject  on  the  other.  The  covers 
were  carved  on  the  outside. 

“ ‘At  a very  early  period  in  the  Christian  era  similar  diptychs 
of  a larger  size  were  employed  in  the  service  of  the  Church.  They 
sometimes  contained  the  figures  of  saints  and  martyrs  on  the  in- 
side and  were  subsequently  exhibited  on  the  altar  open.  The  cir- 
cumstance of  the  principal  representation  being  on  the  inside, 
instead  of  the  outside,  constitutes,  apart  from  the  subject- 
matter,  the  chief  difference  between  the  sacred  and  the  consular 
diptychs.’  ” 


DAVID:  PORTRAIT  OF  MADAME  DE  SERVAN 


No.  98 


le  brun:  portrait  of  LA  COMTE sse 

No.  105 


DE  PROVENCE 


BIBLIOGRAPHY 

All  the  books  starred  (*)  may  be  consulted  in  the 
San  Francisco  Public  Library 

% 

DICTIONARIES 

*Larousse,  Pierre  Athanase:  Grand  dictionnaire  universel  du 
XIXe  specie.  Paris , 1866-90.  17  v. 


TECHNIQUE  OF  PAINTING 

*Cennini,  Cennino:  A treatise  on  painting.  London,  1844. 

Eastlake,  Sir  Charles:  Materials  for  the  history  of  oil  painting. 
London,  1869.  2 v. 

* Leonardo  da  Vinci:  Treatise  on  painting.  London,  1901. 

*Moreau-Vauthier,  Charles:  The  technique  of  painting.  New  York, 
1912. 

GENERAL  HISTORIES 

*Blanc,  Charles:  Histoire  des  peintres  de  toutes  les  ecoles.  Paris, 
1861-76.  2 v. 

*Kugler,  Franz  Theodor:  Handbook  of  painting,  German,  Flemish 
and  Hutch  schools.  London,  1904.  2 v. 

*Michel,  Andre:  Histoire  de  Part.  Paris,  1905-13.  5 v.  in  10. 
*Muther , Richard:  The  history  of  painting.  New  York,  1907. 
*Reinach,  Salomon:  Apollo.  New  York,  1907. 


ITALIAN  PAINTING:  EARLY  CHRISTIAN  AND 
MEDIAEVAL  PERIOD,  3OO-I250 

* Crowe,  Sir  Joseph  Archer:  A history  of  painting  in  Italy,  by  J.  A. 
Crowe  and  G.  B.  Caualcaselle;  ed.  by  Langton  Douglas. 
London , 1903-14.  6 v. 


58  BIBLIOGRAPHY 

*Kugler,  Franz  Theodor:  Handbook  of  painting,  the  Italian  schools. 
London,  1855.  2 v. 

Kondakov,  Nikodim  Pavlovich:  Histoire  de  I art  byzantin.  Paris, 
1886-91.  2 v. 

Strzygowski,  Josef:  Orient  oder  Rom.  Leipzig,  1901. 

Venturi,  Adolfo:  Storia  del V arte  italiana.  Milan,  1901. 

Wilpert,  Josef:  Die  Katakombengemdlde  und  Hire  alten  copien. 
Freiburg,  1891. 

ITALIAN  PAINTING:  GOTHIC  PERIOD,  I25O-I4OO 
*Berenson,  Bernhard:  The  central  Italian  painters  of  therenaissance. 
New  York,  1907. 

*  The  Florentine  painters  of  the  renaissance.  New  York,  1906. 

*  North  Italian  painters  of  the  renaissance.  New  York,  1907. 

*— — A Sienese  painter  of  the  Franciscan  legend.  London,  1909. 

*  The  study  and  criticism  of  Italian  art.  London,  1903. 

*Berenson,  Bernhard.  The  Venetian  painters  of  the  renaissance. 
New  York,  1906. 

* Brown,  Alice  Van  Vechten:  A short  history  of  Italian  painting,  by 

Alice  Van  Vechten  Brown  and  William  Rankin.  London, 
I9I4- 

*Crowe,  Sir  Joseph  Archer:  A history  of  painting  in  north  Italy, 
by  J.  A.  Crowe  and  G.  B.  Cavalcaselle.  London,  1912.  2 v. 

*De  Selincourt,  Basil:  Giotto.  London,  1905. 

*Morelli,  Giovanni:  Italian  painters.  London,  1892-93.  2 v. 

* Ricci,  Corrado:  Art  in  northern  Italy.  New  York,  1911. 

*Thode,  Henry:  Giotto.  Leipzig,  1899. 

ITALIAN  PAINTING:  EARLY  RENAISSANCE, 
I4OO-I5OO 

Fry,  Roger  Eliot:  Giovanni  Bellini.  London , 1899. 


REYNOLDS:  SELF  PORTRAIT 


No.  I I O 


AINSBOROUGH:  PORTRAIT  OF  HON.  MRS.  WM.  DAVENPORT  No.  II4 


BIBLIOGRAPHY  59 

Horne , Herbert  Percy:  Alessandro  Filipepi,  commonly  called  San- 
dro Botticelli.  London , 1908. 

* Symonds,  John  Addington:  Renaissance  in  Italy.  London , 1 888- 

98.  7 v. 

ITALIAN  PAINTING:  THE  HIGH  RENAISSANCE, 

I 5OO-160O 

*Grimm , Herman:  Michael  Angelo.  London , 1890.  2 v. 

*Passavant,  Johann  David:  Raphael  oj  Urbino  and  his  Jather, 
Giovanni  Santi.  London , 1873. 

* Pater,  Walter  Horatio:  Studies  in  the  history  oj  the  renaissance. 

London,  1873. 

* Phillips , Sir  Claude:  Titian.  London,  1898. 

*Richter,  Jean  Paul:  Leonardo.  London,  1880. 

* Symonds,  John  Addington:  The  life  oj  Michelangelo  Buonarroti. 

London,  1901.  2 v. 

*Thiis,  Jens:  Leonardo  da  Vinci.  London,  n.  d. 

*WoljJlin,  Heinrich:  The  art  oj  the  Italian  renaissance.  London, 

I9I3- 

FRENCH  PAINTING:  FROM  THE  BEGINNING  TO 
THE  NINETEENTH  CENTURY 
Blanc,  Charles:  Les  peintres  des Jetes  galantes.  Paris,  1853. 

Bouchot,  Henri  Francois  Xavier  Marie:  Les  Clouet  et  Corneille 
de  Lyon.  Paris,  1892. 

Goncourt,  Edmond  Louis  Antoine  Huotde:  L'art  du  XVIIIme 
siecle.  Paris,  1874. 

*Hourticq,  Louis:  Art  in  France.  New  York,  191 1. 

FRENCH  PAINTING: THE  NINETEENTH  CENTURY 
MacColl,  Dugald  Sutherland:  Nineteenth  century  art.  Glasgow, 
1902. 


6o 


BIBLIOGRAPHY 


SPANISH  PAINTING 

* Armstrong,  Sir  Walter:  Art  of  Velasquez.  London , 1906. 

*Beruete  y Moret,  Aureliano  de:  Velasquez.  Paris,  1898. 

*Cajjin,  Charles  Henry:  Old  Spanish  masters.  New  York,  1907. 

Cossio,  Manuel  Bartolome:  El  Greco.  Madrid,  1908.  2 v. 

Lafond,  Paul:  Goya.  Paris,  1902. 

*Lefort,  Paul:  Francisco  Goya.  Paris,  1877. 

* Ricketts,  Charles  S.:  The  art  of  the  Prado.  Boston,  1907 . 

* Stevenson,  Robert  Alan  Mowbray:  Velasquez.  London,  1906. 
Yriarte,  Charles  Emile:  Goya.  Paris,  1867. 

FLEMISH  PAINTING 

*Crowe,  Sir  Joseph  Archer:  Early  Flemish  painting  by  J.  A. 
Crowe  and  G.  B.  Cavalcaselle.  London,  1872. 

Durand-Greville,  Emile:  Hubert  et  Jean  van  Eyck.  Bruxelles,  1910. 
Lafond,  Paul:  Roger  van  der  Weyden.  Bruxelles,  1912. 

*Michiels,  Joseph  Alfred  Xavier:  Histoire  de  la  peinture  Jlamande 
et  hollandaise.  Paris,  1847-48.  4 v. 

*Rooses,  Max:  Art  in  Flanders.  London,  1914. 

LATE  FLEMISH  AND  BELGIAN  PAINTING: 
SEVENTEENTH  TO  THE  TWENTIETH  CENTURY 
*Bode,  Wilhelm:  Great  masters  of  Dutch  and  Flemish  painting. 
London , 1909. 

*Fromentin,  Eugene:  The  old  masters  of  Belgium  and  Holland. 
Boston,  1882. 

Guiffrey,  Jules  Joseph:  Sir  Anthony  Van  Dyck.,  1896. 

Mander,  Carel  van:  Le  livre  des  peintres.  Paris,  1884-85.  2 v. 
*Michel,  Emile:  Rubens . London,  1899. 

*Rooses,  Max:  Rubens.  London,  1904. 


BIBLIOGRAPHY 


6l 


DUTCH  PAINTING 

Blanc,  Charles:  L' oeuvre  complet  de  Rembrandt.  Paris,  1859-61. 
2 v. 

Bode,  Wilhelm:  Adriaen  van  Ostade.  Vienna,  1881. 

Franz  Hals  und  seine  schule.  Leipzig.  1871. 

Studien  zur  geschichte  der  holldndischen  malerei.  1883. 

Friedlander,  Max  J.:  Meisterwerke  der  niederldndischen  malerei. 
Miinchen,  1903. 

Hale,  Philip  Leslie:  Jan  Vermeer  of  Delft.  Boston,  1913. 

I 

Hojstede  de  Groot,  Cornelius:  fan  Vermeer  van  Delft  en  Car  el 
Fabrituis.  Amsterdam , 1907. 

*Valentiner,  Wilhelm  R.  The  art  of  the  Low  Countries.  Garden 
City,  1914. 


GERMAN  PAINTING 
Gauthiez,  Pierre:  Holbein.  Paris,  n.  d. 

*Kugler,  Franz  Theodor:  The  German , Flemish,  and  Dutch  schools. 
London,  1904. 

Sandrart , foachim  von:  Teutsche  akademie  der  edlen  baubild-  und 
malerey-kunste.  Nurnberg,  1675-79. 

Springer,  Anton:  Albrecht  Diirer.  Berlin,  1892. 

Wolfflin,  Heinrich:  Die  kunst  A.  Durers.  Berlin,  1907. 


BRITISH  PAINTING 

* Armstrong,  Sir  Walter:  Art  in  Great  Britain  and  Ireland.  New 

York,  1909. 

*  Gainsborough  and  his  place  in  English  art.  London,  1906. 

*  Sir  Henry  Raeburn.  London , 1901. 

*  Sir  Joshua  Reynolds.  London,  1900. 

Scottish  painters. 

Turner.  London,  1902. 


62 


BIBLIOGRAPHY 


* Cunningham , Allan:  Lives  of  the  most  eminent  British  painters , 
sculptors , and  architects.  London , 1879.  3 v. 

*Dobson , Austin:  Hogarth.  London , 1883. 

* Leslie , Charles  Robert:  Life  and  times  of  Sir  Joshua  Reynolds. 
London,  1865. 

*  Memoirs  of  the  life  of  John  Constable.  London,  1845. 

*Ruskin,  John:  The  art  of  England.  London,  1908. 

Sandby,  William:  The  history  of  the  Royal  Academy  of  Fine  Arts. 
London,  1862.  2 v. 

* Swinburne,  Algernon  Charles:  William  Blake.  New  York,  1906. 
*Van  Dyke,  John  Charles:  Old  English  masters.  London,  1902. 

Walpole,  Horace,  pth  earl  of  Orford:  Anecdotes  of  painting  in  Eng- 
land. London,  1894.  3 v. 


ROMNEY:  PORTRAIT  OF  LADY  HAMILTON 


No.  1 1 7 


RAEBURN:  PORTRAIT  OF  PROFESSOR  ANDREW  DALZEL  No.  I I 9 


INDEX  TO  ARTISTS 


Amberger,  Christoph 

Number  38 

Baldung,  Hans 

57 

Benson,  Ambrosius 

38 

Bles,  Henri  Met  de 

32 

Blondeel,  Lancelot 

34 

Bol,  Ferdinand 

51 

Bosch,  Hieronymus 

44 

Boucher,  Francois 

90 

Bronzino,  Angelo  Allori 

12 

Bruges,  School  of 

33 

Bruyn,  Barthel 

59 

Burgos,  Juan  de 

65 

Camerino,  Girolamo  di  Giovanni  da 

4 

Campi,  Giulio 

13 

Canale , Giovanni  Antonio  da 

See  Canaletto 

Canaletto 

25-27 

Chardin,  Jean  Baptiste  Simeon 

88 

Coello,  Alonzo  Sanchez 

68 

Constable,  John 

C\ 

Cl 

OO 

Cl 

Cotes,  Francis 

1 12 

Cranach,  Lucas,  the  Elder 

56 

Cranach,  Lucas,  the  Younger 

63 

Crome,  John  {"Old  Crome ”) 

1 2 1 

Cuyp,  Aelbert 

52 

David,  Jacques  Louis 

98-102 

Del  Biondo,  Giovanni 

2 

Dossi,  Dosso 

8 

Duple  s sis,  Joseph  S if  rede 

94 

Duvivier,  Mile.  Aimee 

106 

Ferrara,  Ferrari 

3 

Gainsborough,  Thomas 

113-116 

German  School  {Late  XV  Century ) 

55 

German  School  {Late  XVI  Century ) 

64 

Gianpedrino 

J9 

Gossaert 

See  Mabuse 

Goya,  Francisco 

CD 

1 

OO 

64  INDEX  TO  ARTISTS 

Goyen , Jan  Josef sz  van  46 

Greco-Byzantine  1 

El  Greco  69-75 

Greuze , Jean  Baptiste  93 

Grien  or  Griin  See  Baldung 

Harlow , George  Henry  130 

Heem,  Jan  Davidszoon  de  49 

Italian  School  (XVI  Century ) 22,  23 

Lagrenee,  L.  89 

Lambertini,  Michele  di  Matteo  5 

Lawrence , Sir  Thomas  122-124 

LeBrun , Mme.  Vigee  103-105 

Nain,  Antoine , Louis , Mathieu  82-84 

Z,o  Spagna  15 

Lotto,  Lorenzo  9 

Luini , Bernardino  7 

Mabuse  30 

Maes,  Nicolaas  54 

Mantegna  ( School  of)  6 

Marconi,  Rocco  14 

Massy s,  Shiinten  29 

Master  of  Frankfort  62 

Master  of  Ly  vers  berg  Altar  61 

Master  of  St.  Sever  in  60 

Mazzuola,  Girolamo  21 

Miranda,  Juan  Carreno  de  78 

Morales,  Luis  de  67 

Moretto,  Alessandro  Bonvicino  11 

Moro,  Antonio  40 

Neufchatel,  Nicolas  39 

Orley,  Bernard  van  31 

Palamedes,  Anthonie  47 

Palma,  Jacopo  20 

Penni,  Giovanni  Francesco  10 

Perronneau,  Jean  Baptiste  95 

Pietro,  Giovanni  di  SeeJLo  Spagna 

Raeburn,  R.  A.,  Sir  Henry  118-120 

Rembrandt  48 


CONSTABLE:  STOKE  BY  NAYLAND,  SUFFOL 


INDEX  TO  ARTISTS 


65 


Reynolds , P.  R.  A .,  Sir  'Joshua 

108-1 1 1 

Ricci,  Giovanni  Pietro 

See  Gianpedrino 

Rigaud,  Hyacinthe  Francois 

85 

Robert,  Hubert 

96 

Robusti,  Jacopo 

See  Tintoretto 

Romney,  George 

II7 

Rubens,  Pieter  Paul 

41 

Ruisdael,  Jacob  van 

53 

Sanders,  Jan 

See  Van  Hemessen 

Stevaerts 

See  Palamedes 

Teniers,  David,  the  Younger 

37 

Theotocopuli,  Dominico 

See  El  Greco 

Tiepolo,  Giovanni  Battista 

24 

Tintoretto 

16,  17 

Tocque,  Louis 

87 

Turner,  Joseph  Mallord  William 

125-127 

Van  Ac  ken 

See  Bosch 

Van  Dyck,  Anthony 

42,  43 

Van  Hemessen 

35>  36 

Van  Loo,  Louis  Michel 

91 

Vergos,  Pablo 

66 

V ernet,  Claude  Joseph 

92 

Veronese,  Paolo 

18 

Vestier,  Antoine 

97 

Watteau,  Jean  Antoine 

86 

W eyden,  Roger  van  der 

28 

Wijnants,  Jan 

5° 

Wilson,  Richard 

io7 

Zurbardn,  Francisco  de 

76>  77 

LIBRARY 


SUBJECT  fcf  TITLE  INDEX 

Every  painting  is  listed  by  its  respective  catalogue 
number,  and  a star  (*)  indicates  the 
painting  is  illustrated 

% 


ALLEGORICAL,  CLASSICAL,  HISTORICAL, 

AND 

MYTHOLOGICAL 

Number 

Allegory  of  the  Soul 

I X 

Cleopatra 

57 

Diane  et  Endymion 

*90 

Muse  of  Painting  and  Sculpture , The 

89 

Mythological  Subject 

101,  102 

Warrior,  A 

8 

GENRE  PICTURES 

Aristocratic  Family , An 

83 

Bourgeoisie,  A Family  of  the 

82 

Card  Builder,  The 

*88 

Children  in  the  Woods 

1 16 

Halt  of  Dutch  Noblemen  Before  an  Inn 

52 

Hunt,  The 

*41 

Proletariat,  The 

*84 

Return  from  the  Inn,  The 

*93 

Temptation,  The 

*51 

Triumph  of  Colombine , The 

*86 

LANDSCAPES 

Ancient  City,  The 

125 

Canal  in  Venice 

26,  27 

Cascades  de  Tivoli,  Les 

92 

Chateau  de  Cleves 

*50 

Cottage,  A 

128 

Dutch  Landscape 

46 

Edge  of  the  Common,  The 

”3 

Landscape:  Cicero  and  His  Two  Friends,  Attic  us  and  Quintus, 

at  His  Villa  at  Arpinum 

107 

SUBJECT  AND  TITLE  INDEX 

67 

Landscape  with  Cascade 

*53 

Landscape  with  Old  Mill 

121 

Orange , Prince  of,  Landing  at  Torbay 

126 

Piazzetta 

25 

Ruins  Near  Rome 

96 

Stoke  by  Nayland,  Suffolk 

*129 

PORTRAITS 

Artist's  (Testier  s)  Daughter,  Portrait  of 

97 

Barrett , George  Rogers,  Portrait  of 

124 

Bates,  Mr.  and  Airs.  Joah,  Portrait  of 

1 12 

Berlaimont,  Comte  de,  Portrait  of 

87 

Campbell , Rev.  David,  Portrait  of 

120 

Cardinal,  A,  Portrait  of 

91 

Caricature,  Reynolds  and  His  Friends 

109 

Chaloner,  Thomas , Portrait  of 

42 

Chillon,  Marquis  de,  Portrait  of 

*94 

Cockburn,  Mrs.,  of  Rowchester,  Portrait  of 

TI5 

D’Acqueville,  Marquis,  Portrait  of 

106 

Dalzel,  Andrew,  Professor,  Portrait  of 

*119 

Darcy,  Mr.,  Portrait  of 

95 

Davenport,  Hon.  Mrs.  Wm.,  Portrait  of 

*114 

Doria  of  Genoa,  Prince,  Portrait  of 

*43 

F ale  oner- Atlee,  Lady,  Portrait  of 

*122 

Falconer- Atlee,  Sir,  Portrait  of 

123 

Farnese,  Ottaviano,  Second  Duke  of  Parma , Portrait  of 

21 

Gentleman , A,  Portrait  of 

*9 

Hamilton,  Lady,  Portrait  of 

*117 

Julia,  Asensio,  Portrait  of 

81 

Kinski,  Countess,  Portrait  of 

104 

Labadye  Family,  Child  of.  Portrait  of 

103 

Lady  with  Parrot,  Portrait  of 

130 

Lady,  A,  Portrait  of 

47>  *63 

Lindsay,  Rev.  James,  Portrait  of 

1 18 

Man,  A,  Portrait  of 

38 

Mazarredo , Admiral , Portrait  of 

79 

Medici  de,  Cosimo  I.,  Portrait  of 

*12 

Mendoza,  Senora  de,  Portrait  of 

*68 

68 


SUBJECT  AND  TITLE  INDEX 


Morosini,  Francesco,  Portrait  of 

*17 

Nobleman,  A,  Portrait  of 

85 

Orange,  Princess  of 

*54 

P'ecoul,  Madame,  Portrait  of 

99 

P'ecoul,  M.,  Portrait  of 

100 

Philosopher,  A,  Portrait  of 

13 

Porti,  Count,  Portrait  of 

*18 

Posada  y Soto,  Don  Ramon,  Portrait  of 

*80 

Pozo,  Miguel  del.  Portrait  of 

*77 

Provence,  La  Comtesse  de 

*105 

Rio,  Sehora  del,  Portrait  of 

40 

Scambler,  Edward,  Portrait  of 

39 

Self  Portrait,  de  Miranda 

*78 

Self  Portrait,  Reynolds 

*110,  hi 

Self  Portrait , Turner  as  a Young  Man 

127 

Servan,  Madame  de,  Portrait  of 

*98 

Sibil/e  of  Cleves,  Portrait  of 

*56 

Van  Peeman  of  Cassel,  Signeur,  Portrait  of 

35 

Venetian  Nobleman,  A,  Portrait  of 

*14 

White,  the  Pavior,  Portrait  of 

108 

Wife  of  Artist  ( Teniers ) in  the  Garden  of  Their  TAome 

37 

Young  Lady,  A,  Portrait  of 

*10,  *19 

Young  Man,  A,  Portrait  of 

16 

Young  Woman,  A,  Portrait  of 

*30 

Zeller,  Conrad , Portrait  of 

*58 

RELIGIOUS  PICTURES 

Annunciation,  The 

62,  74 

Christ  on  the  Cross 

*6 

Coronation  of  the  Virgin 

2,  3>  33 

Crucifixion,  The 

*29 

Descent  from  the  Cross — Triptych 

55 

Entombment  of  Christ,  The 

*61 

Head  of  Christ 

22 

Jesus  in  the  House  of  Simon 

*73 

Madonna  and  Child 

67 

Madonna,  Child  and  Angels 

60 

Madonna  and  Child  Surrounded  by  Angels 

*66 

SUBJECT  AND  TITLE  INDEX 


Madonna,  Child  and  Saints 

Martyrdom  of  the  Seven  Maccabees 

Mater  Dolorosa 

Pieta 

Saint,  A 

St.  Augustine 

St.  Catherine 

St.  Francis 

St.  Jerome 

St.  John 

St.  John  the  Baptist  and  St.  John  the  Apostle 
St.  Lucy 
St.  Peter 

Tobias  and  the  Angel 

Three  Scenes  in  the  Life  of  the  Virgin — Triptych 
Virgin,  Holy,  The 
Virgin  and  Child 

Virgin  and  Child,  with  Saints,  The 
Virgin  Surrounded  by  Angels 

STILL  LIFE 

Table  with  Fruit 


69 

23 

*59 
34 
4,  28 

*44 

65 
*7>  72 
ID  75 
i5,  *36 
*1,  69 

5 

76 

48 

20 

32 

70 

*3J 

24 

64 


* 


'49 


SAN  FRANCISCO 

1920 


\ 


GETTY  CENTER  LIBRARY  MAIN 


N 5020  S258  1920  BKS 
c.  2 Laurvlk.  J Nllsen  ( 
Catalogue  of  the  loan  exhibition  of  pain 


